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Byzantine imperial imagery is commonly perceived as a static system. In contrast to this common portrayal, this book draws attention to its openness and responsiveness to other artistic traditions. Through a close examination of significant objects and monuments created over a 350-year period, from the ninth to the thirteenth century, Alicia Walker shows how the visual articulation of Byzantine imperial power not only maintained a visual vocabulary inherited from Greco-Roman antiquity and the Judeo-Christian tradition, but also innovated on these artistic precedents by incorporating styles and forms from contemporary foreign cultures, specifically the Sasanian, Chinese and Islamic worlds. In addition to art and architecture, this book explores historical accounts and literary works as well as records of ceremonial practices, thereby demonstrating how texts, ritual and images operated as integrated agents of imperial power. Walker offers new ways to think about cross-cultural interaction in the Middle Ages and explores the diverse ways in which imperial images employed foreign elements in order to express particularly Byzantine meanings.
Bucchero is a very common type of fine pottery that was made by the Etruscans when their civilization was at its height, from the seventh to the fourth century BC. This study concentrates on the products of South Etruria, where the earliest and finest bucchero was made, and where the tradition lasts longest. Until recently bucchero has been little studied, and the aim of this book is to present a sequence of pottery from archaeological contexts, so that the development of the ware can be seen as a whole within a chronological framework. Many of the tomb-groups catalogued are published here for the first time. In studying the shapes careful consideration is given to the affinities with Greek and with other Etruscan wares. A full survey of the decorative techniques is included, and the pattern of distribution both within Etruria and further afield is discussed. An important feature of the book is a series of sixty pages of drawings of the profiles of every shape of bucchero pot studied. Bucchero is of considerable importance as a dating tool, and although the book is directed primarily at specialists, it will also be of interest to anyone who is curious about Etruscan art and archaeology.
The archaeologist Edward Dodwell (c.1776–1832) published this two-volume work in 1819. Elected an honorary member of Berlin's Royal Academy in 1816, Dodwell had been educated at Cambridge, toured France and Germany, and lived in Rome and Naples. Writing extensively on Greek antiquity, he made three tours of Greece, where he produced hundreds of drawings, recording in particular the Athenian Acropolis and the city walls of Argos. He also collected coins and discovered or acquired many valuable artefacts, notably bronzes and vases. Including reproductions of his accomplished illustrations, Volume 2 covers the end of his tour of 1805 and the whole of his final tour of 1806. Dodwell touches on the culture of contemporary Greece, covering also the Echinos ruins, the pass of Thermopylae, and the artefacts of Corinth. His detailed account, mixing travelogue with serious scholarship, remains of interest and relevance to classical archaeologists.