G341 MM.Ro. Course Handbook 2016
1
UCL, INSTITUTE OF ARCHAEOLOGY
ARCLG341 MAKING AND MEANING IN ANCIENT ROMAN ART
COURSE-HANDBOOK 2016
15 credit optional course
Turnitin Class id: 2971244
Turnitin password: IoA1516
Course coordinator: Professor Jeremy Tanner
j.tanner@ucl.ac.uk
Office: Room 105. Tel: 0207 679 1525
Office hours: Tuesday 11-12pm, Wednesday 1-2pm or by appointment
1. Overview of course:
This course is designed to develop in students the skills of careful looking, and
detailed visual analysis, grounded in a strong awareness of the major theoretical
issues, which are central to research in Roman art history. It will take the form of a
series of seminars addressing key themes in the historiography of Roman art through
detailed consideration of specific works of art in the British Museum and other
London museums, where most classes will be held. Alongside traditional concerns
with issues of style and iconography, a particular emphasis will be laid on questions
of ‘facture’, ‘materiality’ and ‘agency’ which have been at the centre of recent
discussions in archaeology, the anthropology of art and art history. Particular themes
and classes may vary from year to year to reflect students’ own research interests,
new publications and special exhibitions.
Course schedule:
Classes will be held in the British Museum, 2-4pm every Tuesday. We will meet
in the Great Court at the Entrance to the Egyptian Galleries.
12/1/16:
19/1/16:
26/1/16:
2/2/16:
9/2/16:
[16/2/16:
23/2/16
1/3/16:
8/3/16:
15/3/16:
22/3/16:
1. Introduction to the course: some key concepts and approaches
2. The question of ‘Roman art’
3. Glass: technology and cultural form
4. Art and luxury at the table: silver and ceramic fine wares
5. Portraiture and the making of identities in the second century AD
Reading Week – No Class]
6. Art as Imperial Propaganda: Trajan’s Column [V&A Cast Court]
7. Death and commemoration: the Social Life of Sarcophagi
8. Roman and native in the art of Roman Britain
9. Transformation: late antique and early Christian arts.
10. Classical art and global antiquities: Roman art in oriental worlds.
Essay submission deadlines: The draft for your essay must be submitted to me (as
word document, via email attachment) by 10pm on Friday 25th March. I plan to
return the draft to you, with comments over the weekend. I will be available in my
office on Wednesday 30th to discuss any questions you may have; alternatively if you
are away from UCL and wish to talk we can communicate by skype. Your revised
essay for assessment (and turnitin) must be submitted by 10pm Friday 29th April (first
week term 3).
G341 MM.Ro. Course Handbook 2016
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Methods of assessment:
The course will be assessed by one 3800-4200 word essay.
Teaching methods:
All classes will be taught as seminars in the British Museum (and the V&A). Students
will be required to give two presentations in order to complete the course. Students
must complete the required readings for each class before the class, and will be
expected on this basis to be able to participate actively in class discussion.
Workload:
There will be 20 hours of seminars for this course. Students will be expected to
undertake 100 hours of reading for the course, and 30 hours preparing for and
producing the assessed course work. This adds up to a total workload of 150 hours for
the course.
Prerequisites:
Students should normally have a good background in classical (Greco-Roman) art.
Other students may take the course, subject to consultation with the course
coordinator, but would normally be advised to sit in on the undergraduate option
ARCL2008 Roman Art and Architecture.
2. AIMS, OBJECTIVES AND ASSESSMENT
Aims
To provide a proseminar for the study of Roman art at an advanced level,
preparing students to develop dissertation research at MA level and beyond.
To provide an advanced level exploration of classic and contemporary
theoretical frameworks and methodologies for the understanding of Roman art.
To provide a basis in skills of problem definition and visual analysis
prerequisite to developing innovative research in Roman art.
To offer the possibility studying at first hand some of the major monuments of
Roman art through the collections of the British Museum and the V&A.
To address a range of key problems in the history of Roman art through close
engagement with collections of museums in London.
Objectives
Students will develop and advanced critical understanding of a range of key
issues in the history and historiography of Roman Art.
They will develop an active mastery of key theoretical frameworks and
methods of analysis in contemporary approaches to the history of Roman art.
They will develop key skills of close looking and detailed visual analysis
through first hand engagement with objects from the collections of London museums.
They will acquire the ability to identify significant research problems in the
history of Roman art, as a preparation for developing their own independent research
projects.
Outcomes
Students will:
1) Be able to demonstrate a good understanding of the key principles which
inform the systematic and critical visual analysis of works of art
G341 MM.Ro. Course Handbook 2016
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2) Be able to demonstrate a good understanding of key classical and
contemporary theoretical and methodological frameworks for the
understanding of Roman art
3) Be able critically to evaluate existing research in Roman art, and identify ways
in which a range of research programmes might be taken forward
4) Be familiar with the range of visual, textual and archaeological sources
relevant to the understanding of Romanart
5) Be able to understand and appreciate the range of problems involved in the
interpretation of complex, ambiguous and often incomplete data.
Assessment
Students are required to write one essay of 3800-4200 words. Penalties will
only be imposed if you exceed the upper figure in the range. There is no penalty for
using fewer words than the lower figure in the range: the lower figure is simply for
your guidance and to indicate the sort of length that is expected. Bibliography and
captions do not count towards the total word count. Essay questions are listed at the
end of each weekly seminar topic.
Students are required to submit a draft of their essay, on which they will
receive detailed written comment, which should inform the final revised essay which
they submit for formal assessment.
The draft for your essay must be submitted to me (as word document, via
email attachment) by 10pm on Friday 25th March. I plan to return the draft to you,
with comments over the weekend. I will be available in my office on Wednesday 30th
to discuss any questions you may have; alternatively if you are away from UCL and
wish to talk we can communicate by skype. Your revised essay for assessment (and
turnitin) must be submitted by 10pm Friday 29th April (first week term 3).
SYLLABUS AND READING LISTS - following pages
Note also last pages of the handbook for information on IoA coursework
submission procedures (Turnitin etc) and granting of extensions.
G341 MM.Ro. Course Handbook 2016
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1. INTRODUCTORY: SOME KEY CONCEPTS
Preliminary reading – please read before first class.
Required:
Summers, David. 2006. “World art history and the rise of western modernism or
goodbye to the visual arts”, 215-234 in John Onians ed. Compression versus
Expression: Containing and Explaining the World’s Art. New Haven: Yale
University Press. [STORE 10-0519 ] Xeroxes distributed; will add to IoA TC
Burke, Peter. 2002. “Context in context”, Common Knowledge 8.1: 152-177. [Online]
Thompson, John B. 1990. Ideology and Modern Culture: Critical Social Theory in the
Era of Mass Communication. Cambridge: Polity Press. 303-13 “Analysing
mass communication: the tripartite approach”,, 313-319 “The everyday
appropriation of mass-mediated products”.
[SSEES: Misc.XIX THO ;
ANTHROPOLOGY D 70 THO ]
Morgan, L. 1988. "Methods and aims: a definition of iconography", pp. 10-16 in
idem. The Miniature Wall-Paintings of Thera: a Study in Aegean Culture and
Iconography. (Cambridge, Cambridge University Press).(IoA TC 194 - 3
copies; IoA DAG 10 MOR)
Tanner, Jeremy and Robin Osborne. 2006. “Introduction: Art and Agency and art
history”, in R. Osborne and J. Tanner eds. Art’s Agency and Art History.
Oxford: Blackwell. 1-27. [Online – ebook]
G341 MM.Ro. Course Handbook 2016
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2. THE QUESTION OF ROMAN ART:
Topic outline:
One of the major critical issues in the historiography of Roman art has been
identifying its subject matter, namely what is Roman art? We will explore this issue in
the context of a critical transformative period, namely the late Republic and early
empire by looking at Roman copying of Greek art, the formation of what are often
seen as distinctively Roman art styles, such as verism in portraiture, and the
hellenisation of Roman culture as represented in early Julio-Claudian portraiture.
British Museum presentations: 1. Roman copying: the Diskobolos and the
Diadoumenos. 2. Verism in Roman portraiture: freedman reliefs. 3. Augustan
portraiture.
Required readings:
1. Brendell, O.J. 1953. “Prolegomena to a book on Roman art”, Memoirs of the
American Academy in Rome 21: 9-73. [Online]
2. De Angelis, Francesco. 2008. “Pliny the Elder and the Identity of Roman art”. Res:
Anthropology and Aesthetics 53-4: 79-92. [Online]
3. Koortbojian, Michael. 2002. “Forms of attention: four notes on replication and
variation”, Memoirs of the American Academy in Rome. Supplementary
Volume. Vol 1: The Ancient Art of Emulation: Studies in Artistic Originality
and Tradition from the Present to Classical Antiquity. 173-204. [Online]
4. Jackson, D. 1987. “Verism and the ancestral portrait”, Greece and Rome 34.1: 3247. [online]
5. Smith, R.R.R. 1996. “Typology and diversity in the portraiture of Augustus”,
Journal of Roman Archaeology 9: 31-47 [Online].
6. Versluys, M. 2015. “Roman visual material culture as globalising koine”, 141-74 in
Martin Pitts and Miguel John Versluys eds. Globalisation and the Roman
World: World History, Connectivity and Material Culture. [Online: Available
as ebook via library catalogue]
Basics:
Bianchi-Bandinelli, R. 1970. Rome the Centre of Power. Pp. 51-106 "Two Traditions:
Plebeian and Patrician." (ISSUE DESK IOA BIA)
Readings for presentations
Aesthetics of Emulation in Roman Copy Culture: Roman copies of Myron’s
Diskobolos and Polykleitos‘ Diadoumenos: Room 23 (Diskobolos currently
not on display 9.2.2016, JJT will bring pictures) JJT presentation
▲Anguissola, A. 2005. “Roman copies of Myron’s Diskobolos”, Journal of Roman
Archaeology 18: 317-35 [Online]
_____. 2015. “Idealplastik and the relationship between Greek and Roman
sculpture”, 240-59 in Elise A. Friedland and M.G. Sobocinski eds. The Oxford
Handbook of Roman Sculpture. Oxford. [Online]
G341 MM.Ro. Course Handbook 2016
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▲Koortbojian, Michael. 2002. “Forms of attention: four notes on replication and
variation”, Memoirs of the American Academy in Rome. Supplementary
Volume. Vol 1: The Ancient Art of Emulation: Studies in Artistoc Originality
and Tradition from the Present to Classical Antiquity. 173-204. [Online]
▲Decter, Joshua. 1988. “Edward Allington: allegorical inventories, artefactual
narratives”, 7-16 in Papadrakis, A.C. ed. 1988. The Classical Sensibility in
Contemporary Painting and Sculpture = Art and Design, Profile 9 issued with
Art and Design vol. 4, 5/6. [ART PERIODICALS]
▲Marvin, Miranda. 1997. “Roman sculptural copies, or Polykleitos, the sequel”. 7-28
I A. Hughes and E. Ranfft eds. Sculpture and its Reproductions. London:
Reaktion. [ART C 20 HUG]
Roman freedman portraits and funerary reliefs: Student presentation
Location: BM room 70 far end left hand side. Freedman funerary reliefs the
walls; Monument of Aurelius Hermia directly opposite on right hand side.
▲Koortbojian, Michael. 2006. “The Freedman’s voice: the funerary monument of
Aurelius Hermia and Aurelia Philematio in the British Museum”, 91-153 in
Eve D’Ambra and Guy P.R. Metraux eds. The Art of Citizens, Soldiers and
Freedmen in the Roman World. BAR International Series 2006. (YATES
QUARTO A6 DAM)
Kleiner, D.E. 1977. Roman Group Portaiture: The Funerary Reliefs of the Late
Republic and Early Empire. New York: Garland Publishing. [Dissertation
available Online]
▲George, Michele. 2006. “Social identity and the dignity of work in Freedmen’s
reliefs”, 19-30 in Eve D’Ambra and Guy P.R. Metraux eds. The Art of
Citizens, Soldiers and Freedmen in the Roman World. BAR International
Series 2006. (YATES QUARTO A6 DAM)
▲Kleiner, D. 1992. Roman Sculpture. Pp. 31-47 "Republican portraiture", 79-81
"Portraits of freedmen and freedwomen under Augustus". [YATES QUARTOS M
70 KLE ‒ 3 copies ]. One copy will be placed at issue desk
Augustan portraiture and classicism: Student presentation
Location: Room 70.
▲Smith, R.R.R. 1996. “Typology and diversity in the portraiture of Augustus”,
Journal of Roman Archaeology 9: 31-47 [Online]
▲Zanker, Paul. 1988. The Power of Images in the Age of Augustus. Ann Arbor
Michigan. 98-100, 156-66. [ANCIENT HISTORY R 15 ZAN ‒ 4 copies, one
Reference]
▲Kleiner, D. 1992 Roman Sculpture. Pp. 61-72 "Portraiture of Augustus", 72-78
"Portraiture of Augustus family (Gaius and Lucius, Livia, Agrippa)." [YATES
QUARTOS M 70 KLE - 3 copies ]. One copy will be placed at issue desk
Bartman, Elizabeth. 1999. Portraits of Livia: Imaging the Imperial Woman in
Augustan Rome. Cambridge. [YATES QUARTOS M 229 BAR]
Rose, Brian. 1997. Dynastic Commemoration and Imperial Portraiture in the JulioClaudian Period. Cambridge. [YATES QUARTOS M 226 ROS]
Pollini, J. 1987. The Portraiture of Gaius and Lucius Caesar. New York: Fordham
University Pres. [ ICS 131Q.1] [ICS = Institute of Classical Studies, Senate
House]
G341 MM.Ro. Course Handbook 2016
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Squire, Michael. 2013. “Embodied ambiguities on the Prima Porta Augustus”, Art
History 36.2: 242-79. [Online]
Supplementary readings
Historiography and the Romanness of Roman Art
Brilliant, R. 1998. “Some reflections on the ‘New Roman Art History’, Journal of
Roman Archaeology 11: 557-65
Kampen, Natalie. 1997. “Democracy and debate: Otto Brendel’s ‘Prolegomena to a
book on Roman art’”, Transactions of the American Philological Association
127: 381-388. [Online]
*Kampen, N. 2003. “On writing histories of Roman art”, Art Bulletin 85.2: 371-86
[Online]
Kampen, N.B. 1995. "On not writing the history of Roman art", Art Bulletin 77: 3758 [Online]
Wickhoff, Franz. 1900. Roman Art: Some of its Principles and their Application to
Early Christian Painting. Trans. Mrs S. Arthur Strong. London: Heinemann.
Esp. 22-45
Roman copying and Greek Art
Bartman, Elibaeth, 1988. “Décor et duplicatio: pendants in Roman sculptural
display”, American Journal of Archaeology 92.2: 211-225 [Online]
Gazda, E. 1995. “Roman art and the ethos of emulation, reconsidering repetition”
Harvard Studies in Classical Philology 97: 121-56 [Online] {Whole volume
looks at ‘Greece in Rome: influence, integration, resistance’}
Gazda, Elaine (ed.) 2002. The Ancient Art of Emulation: Studies in Artistic
Originality and Tradition from the Present to Classical Antiquity. MAAR
Supplementary Volume 1. [YATES QUARTOS M 5 GAZ; also accessible online via
individual chapter titles]
Hallett, Christopher H. 2005. “Emulation versus replication: redefining Roman
copying”, Journal of Roman Archaeology 17: 419-435. [Online] {Review of
Gazda ed. Ancient Art of Emulation, and Perry
Marvin, Miranda. 2008. The Language of the Muses: the Dialogue Between Roman
and Greek Sculpture. Los Angeles.
Pollitt, J. J. 1978. "The Impact of Greek Art in Rome." Transactions of the American
Philological Association 108, 155-75.
Roman Portraiture and Roman Identities
Pollini, J. 2007. “Ritualizing death in Republican Rome: memory, religion, class
structure and the wax ancestral mask tradition’s origin and influence on
veristic portraiture”, in Nicola Laneri ed. Performing Death: Social Analyses
of Funerary Traditions in the Ancient Near East and Mediterranean.
Chicago: Oriental Institute Seminars. [INST ARCH DBA 100 LAN; ISSUE DESK
IOA LAN 4]
Richter, Gisela. 1955. “The origins of verism in Roman portraits”, Journal of Roman
Studies 45: 39-46.
Rose, B. 2008. “Forging artistic identity in the late Roman republic, Trojan ancestry
and veristic portraiture”, Memoirs of the American Academy in Rome.
Supplementary Volumes, Vol. 7, Role Models in the Roman World. Identity
and Assimilation (2008), pp. 97-131. [Online]
G341 MM.Ro. Course Handbook 2016
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Tanner, J. 2000. “Portraits, power and patronage in the late Roman Republic”,
Journal of Roman Studies XC, 18-50.
Hellenisation, acculturation, ‘globalisation’
**Hölscher, Tonio. 2004 (1987). The Language of Images in Roman Art. Cambridge.
5-9 “The Greek paradigm: a model for life style, a case of academic
classicism, or a building block of imperial culture”; 47-57 “State ceremonial:
the tradition of classical dignity”, 76-82 “The reliefs of the Ara Pacis”. {One of
the most important contributions to this debate of the last generation; whole book key
reading for essay, but especially these chapters}
MacMullen, R. 1991. “Hellenizing the Romans: second century BC”, Historia 40:
119-138
Veyne, Paul. 1979. “The Hellenization of Rome and the question of acculturations”,
Diogenes 106: 1-27
Essay question: Why has the problem of defining the relationship between Greek and
Roman art in late Republican and early imperial Rome proven so contentious,
and how close has recent work come to solving it?
G341 MM.Ro. Course Handbook 2016
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3. GLASS: TECHNOLOGY AND CULTURAL FORM
Topic outline:
The Roman empire saw remarkable innovations in the character of glass as an artistic
medium, in part as the result of the invention and diffusion of the technology of glass
blowing. This class explores the relationship between the technologies of glass
production, the social and practical uses of glass, and the material forms (style,
iconography, aesthstics) taken by glass in the Roman world. In particular we shall
discuss how we might best approach the social and cultural significance that objects
like the Portland Vase or the Lycurgus cup may have had for their original owners
and viewers, and how far this significance was dependent on the material affordances
of glass as an artistic medium.
British Museum presentations: 1. Roman cameo glass; 2. The Lycurgus cup];
3. Mould blown glass*; 4. Mosaic glass*. 5.Glass blowing*. 6. Murrhine Ware*.
Key readings for class discussion:
1. Sillar, Bill and M.S. Tite. 2000. “The challenge of ‘technological choices’ for
materials science approaches in archaeology”, Archaeometry 42.1: 2-20
[Online]
2. Freestone, I. et al. 2007. “The Lycurgus cup, a Roman nanotechnology”, Gold
Bulletin 40.4: 27-277. [Online]
3. Stern, E. Marianne. 2015. “Roman glass from East to West”. 77-94 in In Freestone
I, Jackson C.J. and Bayley J. (eds) Glass of the Roman World. Oxford:
Oxbow. [INST ARCH KL BAY] [Xerox for teaching collection]
4. Elsner, Jas. 2013. “The Lycurgus cup”, 103-111 in C. Entwhistle and L. James eds.
New Light on Old Glass: Recent Research on Byzantine Mosaics and Glass.
British Museum Publications no 179. London: British Museum.
{Downloadable as PDF from Elsner’s Academia Edu page, or ask JJT}
5. Journal of Glass Studies 32, 1990: entirely dedicated to The Portland Vase. Please
read the following short essays. i. I. Freestone, “Laboratory studies of the
Portland Vase”, 103-7; ii. W. Gudenrath and D. Whitehouse, “The
manufacture of the vase and its ancient repair”, 108-21; iii. K. Painter and D.
Whitehouse, “Style, date and place of manufacture”, 122-5; iv. K. Painter and
D. Whitehouse, “The place of the vase in Roman glass making”, 126-9. v. K.
Painter and D. Whitehouse, “The interpretation of the scenes”, 130-6. [Online]
6. Henderson, Julian. 2013. Ancient Glass: an Interdisciplinary Exploration. Chapter
7 (203-234) “Hellenistic to early Roman Glass: a change from small to large
scale production”, Chapter 8 (235-251) “Late Hellenistic and early Roman
glass: scientific studies”. Cambridge. [Online, or INST ARCH KL HEN]
Basics (assumed from Introductory Roman art classes)
Price, J. 1983. "Glass", pp. 205-219 in M. Henig ed. Handbook of Roman Art.
[YATES A 40 HEN; ISSUE DESK IOA HEN 6]
Price, J. 1976. "Glass", pp. 111-126 in Strong and Brown eds. Roman Crafts. [INST
ARCH K STR; ISSUE DESK IOA STR 8]
Grose, D. 1983. “The formation of the Roman glass industry”, Archaeology 36.4 3845. [Online]
G341 MM.Ro. Course Handbook 2016
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Presentation Readings:
Glass blowing: technology and forms: {Not sure this will easily lend itself to object
focussed presentation in BM- JJT will introduce}
▲Grose, David F. 1977. “Early blown glass: the western evidence”, The Journal of
Glass Studies 19.9-29 [Online]
▲Israeli, Y. 1991. “The invention of blowing”, 46-55 in M. Newby and K. Painter
eds. Roman Glass: Two Centuries of Art and Invention. London: Society of
Antiquaries Occassional Paper. [INST ARCH KL NEW] Plus one copy to issue
desk
▲Stern, E.M. 2002. “The ancient glassblower’s tools”, in G. Kordas ed. Hyalos
Vitrum Glass: History, Technology and Conservation of Glass and Vitreous
Materials in the Hellenic World. Athens: Glasnet. [INST ARCH KL Qto KOR]
The Portland Vase and Cameo Glass: Student presentation
[Portland Vase, Room 70, Case 12; Auldjo Jug, Case 16 1859,0216.1]
▲Roberts, Paul et al. 2010. Roman Cameo Glass in the British Museum. London:
British Museum Press. 9-23 “British Museum Roman cameo glass in context”,
25-50 “How vessel blanks were made”. Plus entries on Portland Vase and
Auldjo jug in catalogue. [INST ARCH KL Qto ROB]
Haspeslagh, Martine Newby. 2015. “A Roman Dionysiac cameo glass vase”, pp. 138145 in In Freestone I, Jackson C J and Bayley J (eds) Glass of the Roman
World. Oxbow.
▲Gudenrath, W. and Whitehouse D. 1990. “The manufacture of the vase and its
ancient repair”, Journal of Glass Studies 32: 108-121 [Online]
▲Harden, D.B. 1983. “New light on the technique of the Portland and Auldjeo cameo
vessels”. Journal of Glass Studies 25: 45-54. [Online]
▲Painter, K. and Whitehouse, D. 1990. “The place of the Portland vase in Roman
glass making”, Journal of Glass Studies 32: 126-9/ [Online]
Painter, K. and Whitehouse, D. 1990. “Early Roman cameo glass”. Journal of Glass
Studies 32: 138-65
Whitehouse, D.B. “Cameo glass”, 19-32 in M. Newby and K.S. Painter eds. Roman
Glass. Two Centuries of Art and Invention. London: Society of Antiquaries.
Whitehouse, D. 1989. “The Seasons Vase”, Journal of Glass Studies 31: 16-24.
Journal of Glass Studies 32, 1990: entirely dedicated to Portland Vase: essays on
history of collection, technique, iconography etc.
Portland vase: iconography – a selection of the 50+ interpretations
▲Haynes, D.E.L. 1995. "The Portland Vase: a reply", Journal of Hellenic Studies
CXV, 146-152.
▲Hind, J.G.F. 1995. "The Portland vase: new clues towards old solutions." ibid
153-155
Ashmole, B. 1967. "A new interpretation of the Portland Vase", Journal of Hellenic
Studies LXXXVII, 1-17
Haynes, D.E.L. 1968. "The Portland Vase again", Journal of Hellenic Studies
LXXXVIII, 59-72
Hind, J.F.G. 1979 "Greek and Roman Epic Scenes on the Portland Vase", Journal Of
Hellenic Studies XCIX, 20-5
The Lycurgus Cup and Cage Cups: Student presentation
G341 MM.Ro. Course Handbook 2016
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Location:
▲Elsner, Jas. 2013. “The Lycurgus cup”, 103-111 in C. Entwistle and L. James eds.
New Light on Old Glass: Recent Research on Byzantine Mosaics and Glass.
British Museum Publications no 179. London: British Museum. [ARCH KL Qto
ENT]{Downloadable as PDF from Elsner’s Academia Edu page}
▲Lierke, R. 2013. “Manufacture of diatreta and cage cups”, 88-102 in C. Enthistle
and L. James eds. New Light on Old Glass: Recent Research on Byzantine
Mosaics and Glass. British Museum Publications no 179. London: British
Museum. [INST ARCH KL Qto ENT]
Gudenrath, W. and Whitehouse, D. 1990. “A fragment of a dichroic cage cup in the
British Museum”, Journal of Glass Studies 51: 224-7. [Online]
*Meredith, H. 2009. “Animating objects: ekphrastic and inscribed late antique
movable material culture”, Facta: a Journal of Roman Material Culture
Studies 3: 35-54. {PDF can be downloaded from her Academia Edu page;
Journal available in ICS – Institute of Classical Studies, Senate House}
Harden, D.B. and Toynbee, J.M.C. 1959. “The Rothschild Lycurgus cup”,
Archaeologia 97: 179-212
▲ Freestone, I. et al. 2007. “The Lycurgus cup, a Roman nanotechnology”, Gold
Bulletin 40.4: 27-277. [Online]
▲Scott, George D. 1995. “A study of the Lycurgus cup”, Journal of Glass Studies 37:
51-64. [Online]
Vickers, Michael. 1996. “Rock cut crystal: the key to cut glass and diatreta in Persia
and Rome”, Journal of Roman Archaeology 9: 48-65 [Online]
Techniques and chemistry of Roman coloured Glass – scientific approaches to Roman
glass
Freestone, Ian. 2008. “Pliny on Roman glass making”, 77-100 in M. Martinon-Torres
and T. Rehren eds. Archaeology, History and Science: Integrating Approaches
to Ancient Materials. Left Coast Press. [INST ARCH AJ MAR; ISSUE DESK IOA
MAR 9; online] {not req}
Green, L.R. and Hart, F.A. 1987. “Colour and chemical composition in ancient glass:
an examination of some Roman and Wealden glass by means of UltravioletVisible-Infrared Spectrometry and Electron Microprobe analysis”, Journal of
Archaeological Science. 14: 271-82 [Online]
Henderson, Julian. 2013. Ancient Glass: an Interdisciplinary Exploration. Cambridge.
Chapter 7 (203-234) “Hellenistic to early Roman Glass: a change from small
to large scale production”, Chapter 8 (235-251) “Late Hellenistic and early
Roman glass: scientific studies”. [IoA KL HEN; also Online]
Mosaic Glass – JJT introduce
Location: Room 70, Case 17 for examples.
▲Freestone, I. and Stapleton C. 2015. “Composition, technology and production of
mosaic glass vessels of the early Imperial period”. 61-76 In Freestone I,
Jackson C J and Bayley J (eds) Glass of the Roman World. Oxbow. {chemistry
approach} [INST ARCH KL BAY ‒ to be moved to issue desk]
▲Dawes, S. 2002. “Hellenistic and Roman mosaic glass, a new theory of
production”, Annual of the British School at Athens 97: 413-28. {experimental
approach} [Online]
G341 MM.Ro. Course Handbook 2016
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Flemming, S. and Swann, C.P. 1999. “Roman mosaic glass a study of production
processes, using Pixe spectrometry”, Nuclear Inst. and Methods in Physics
Research, B, 150(1): 622-627. [Online]
Roman engraved glass:
Location: Blown glass dishes, engraved. GR1967.11 21.1 Bellerophon (G70, dc 17;
check ‘Glass of the Caesars’ catalogue); GR1887.1-8.1 Apollo and Athena
(G70, DC 33)
*Caron, Beaudoin. 1997. “Roman Figure engraved glass in the Metropolitan Museum
of Art”, Metropolitan Museum Journal 32: 19-50. [Online]
Murrhine Ware: student presentation
Location: Room 70, Case 13.
▲Treassau, Alain and and Michael Vickers. 2007. “Ancient Murrhine ware and its
glass evocations”, Journal of Glass Studies 49: 143-52 [Online]
▲Loewenthal, A.I. et al. 1949. “Vasa Murrina”, Journal of Roman Studies 39. 31-37
[Online]
▲Lapatin, Kenneth. 2015. Luxus: the Sumptuous Arts of Greece and Rome. Malibu:
J. Paul Getty Museum. Pp. 122-2 “Murrhine ware”, with plates 133-4 and their
catalogue entry (both in BM). [YATES QUARTOS A 99 LAP ‒ Reference only].
Bromehead, C.N. 1952. “What was Murrhine?”, Antiquity 26: 65-70. [Online]
Slavazzi, Fabrizio. 2003. “Vasi in pietra dura nell’ età ellenistico-romana”, in Cristalli
e gemme: Realtà fisica e immaginario simboligia, technical e arte. Edited by
Bruno Zanetti. 437-58. Venice: Istituto Veneto di Scienze, lettere ed arti.
[Trying to locate – 2016]
Mould-blown glass – Student presentation:
Location: Room 70, Case 17 for examples (esp. GR1878.10-20.1: Hercules, Mercury,
Seasons; GR1993.10-16.1. Box from Sidon, Dunghello Collection.)
- 1870,0224.3, Hierax
farewell; Olympus farewell; Antiocus farewell; hail Crescens; On display: Gallery
49/display case13. JJT will bring pictures for presentation in room 70)
(NB also: Glass beaker with chariot-racing scene; Chariot racing souvenir
Fontaine, S. and D. Foy. 2015. “Mould-blown beakers with figurative scenes: new
data on Narbonensis Province”, 97-111 in J. Bayley, I. Freestone and C.
Jackson eds. Glass of the Roman World. Oxford: Oxbow. {cf.
GR1878.1020.1} [INST ARCH KL BAY ‒ to be moved to issue desk]
▲Price, J. 1991. “Decorated mould-blown tableware in the first century AD”, 56-75
in M. Newby and K. Painter eds. Roman Glass: Two Centuries of Art and
Invention. London: Society of Antiquaries. [INST ARCH KL NEW ‒ 2 copies]
▲Weinberg, G.D. 1972. “Mould blown beakers with mythological scenes”, Journal
of Glass Studies 14: 26-47. {BM material} [Online]
▲Wight, K. 2000. “Leaf beakers and Roman mould-blown glass production in the
first century AD”, Journal of Glass Studies 42: 61-79. [Online] {Very helpful on
production methods}
Price, J. 1995. “The Canterbury-London group of chariot-race cups”, in K. Blockley,
M. Blockley, S.S. Frere and S. Stow. Excavations in the Marlowe Car Park
and Surrounding Areas. The Archaeology of Canterbury, 5. 122-27.
Canterbury: Canterbury Archaeological Trust. [INST ARCH DAA 410 K.2 BLO]
*Ville, G. 1964. “Les coupes de Trimalcion figurant des gladiateurs et une série de
verres ‘sigillés’ gaulois”, in M. Renard and R. Schilling eds. Hommage à Jean
G341 MM.Ro. Course Handbook 2016
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Bayet. Collection Latomus 70: 722-33. [ICS, 202 BAY; Institute of Classical
Studies, Senate House]
Wight, K. 1994. “Mythological beakers, a re-examination”, Journal of Glass Studies
36: 24-55. [Online]
*Lightfoot, Christopher S. ed. 2014. Ennion: Master of Roman Glass. New York:
Metropolitan Museum of Art. [On Order 2016]
Supplementary reading:
*Beretta, Marco. 2004. When Glass Matters: Studies in the History of Science and Art
from Graeco-Roman Antiquity to the Modern Era. Olschki: Florence; 1-30
“Between nature and technology: glass in ancient chemical philosophy”
(Beretta); Giovanni di Pasquale “Scientific and technological use of glass in
Graeco-roman antiquity” (31-76), E. Marianne Stern “The glass banausoi of
Sidon and Rome” (77-120), Girogio Strano “Glass and the heavenly spheres:
astronomic refraction in Ptolemy’s optics” (121-134). (INSTARCH KL BER)
Biek, L. and Bayley, J. 1979. “Glass and other vitreous materials”, World
Archaeology 11: 1-25.
Degryse, C.ed. 2014. Glass Making in the Roman World. Studies in Archaeological
Science 4. Leuven: European Research Council. [Online] [Strong science
focus]
Frank, S. 1982. Glass and Archaeology. London.
*Grose, D.F. “Glass forming methods in classical antiquity”, Journal of Glass
Studies 26.25-34
*Newby, Martine and Painter, Kenneth. 1991. Roman Glass: Two Centuries of Art
and Innovation. London: Society of Antiquaries. (Excellent bibliography)
Henderson, Juliam. 2013. Ancient Glass: an Interdisciplinary Approach. Cambridge.
Price, Jennifer. 2005. “Glass working and glass workers in cities and towns”, in Ardle
McMahon and Jennifer Price eds. Roman Working Lives and Urban Living.
Oxford: Oxbow. [INST ARCH DAA 170 MAC]
Stern, E.M. 1997. “Glass and rock crystal, a multi-faceted relationship”, Journal of
Roman Archaeology 10: 192-206.
Stern, E. Marianne. 1999. “Roman glassblowing in a cultural context”, American
Journal of Archaeology 103: 441-84 [Online]
*Stern, E.M. 1998. “Interaction between glassworkers and ceramists”, 183-204 in P.
McCray and W.D. Kingery eds. The Prehistory and History of Glassmaking
Technology. Westerville OH: The American Ceramic Society. ISSUE DESK IOA
MCC
Stern, E.M. 2002. “Glass is hot” American Journal of Archaeology 106: 463-71
Stern, E.M. 2007. “Ancient glass in a philological context”, Mnemosyne 60.3: 341406
Stern, E.M. 2009. “Glass production”, in J.P. Oleson ed. The Oxford Handbook of
Engineering and Technology in the Classical World. Oxford. [Online]
*Stern, E.M. 2012. “A glass blower looks at Martial 14.94” Mnemosyne 65: 80-93
Stern, E.M. 2012. “Blowing glass from chunks instead of molten glass”, Journal of
Glass Studies no? 33-45.
Tait, G. ed. 1991. Five Thousand Years of Glass. London: British Museum Press.
(Good chapters on Greek and Roman glass)
Valotto, M. and M. Verita. 2002. “Glasses from Pompeii and Herculaneum and the
sands of the rivers Belus and Volturno”, in Homer Faber. Studies on Nature,
G341 MM.Ro. Course Handbook 2016
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Technology and Science at the time of Pompeii. Ed. J. Renn, G. Castagnetti.
Rome. 63-73
Webster, Graham. 1959. “Roman windows and grilles”, Antiquity 33: 10-14.
Whitehouse, David. 1999. “Glass in the epigrams of Martial”, Journal of Glass
Studies 41: 73-81.
Anthropology of technologies etc.
Lemonnier, Pierre. 1986. “The study of material culture today: toward an
anthropology of technical systems”, Journal of Anthropological Archaeology
15: 147-86 [Online]
O’Connor, E. 2005. “Embodied knowledge: the experience of meaning and the
struggle toward proficiency in glassblowing”, Ethnography 6 (2): 183-204
_____. 2007. “Hot glass: the calorific imagination of practice in glassblowing”, in C.
Calhoun and R. Sennett eds. Practicing Culture. New York: Routledge. 57-81
Rihouet, P. 2013. “Veronese’s goblets, glass blowing and the civilizing process”,
Journal of Design History 26.2: 133-151
Essay questions:
Either: “Compare the role and importance of cultural, social and technological factors
in the development of glassware in the Roman empire”.
Or: “How far is the development of glass technology shaped by its social and cultural
environments in the Roman empire, and how far is it transformative of
them?”.
Or: How important is an understanding of the technical bases of glass production to
understanding the social and cultural significance of glass as an artistic
medium in the Roman empire?
G341 MM.Ro. Course Handbook 2016
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4. ART AND LUXURY AT THE TABLE: SILVER AND CERAMIC FINE WARES
Class topic:
This class explores the theme of Roman luxury consumption through the elite
medium of Roman silver and the more demotic medium of fine red glazed pottery
(Arretine) through which Roman luxury culture was translated for mass consumption.
The first part of the class will focus on silverware, thinking about techniques
of production and contexts of consumption, and how ‘luxury’ – generally perceived as
potentially morally corrupting in Roman culture – was contoured to the social,
cultural and aesthetic sensibilities of Roman elites.
The second part of the class will look at Arretine pottery, exploring its relation
with silverware, mass-production by means of moulds, and its relationship to
‘consumer culture’ in the Roman empire.
British Museum Presentations: 1. Silver smithing and the Sophocles cup; 2.
The Warren Cup; 3. Iconography and decoration of Arretine Ware; 4. Lead-glazed
pottery.
Required reading:
1. Olivier, Andrew. Jr. 1994. “The changing fashions of Roman silver”, Record of the
Art Museum, Princeton University 63: 2-27. [Online]
2. Williams, Dyfri. 2015. “A cantharus cup from ancient Betar near Jerusalem (the socalled Warren cup) and Roman silver plate”, BABESCH 90: 155-198. [ICS
Periodicals – Institute of Classical Studies; PDF can be downloaded from
Williams AcademiaEdu page, or obtainable from JJT]
3. D'Arms, John. 1999. “Perfoming culture. Roman spectacle and the banquets of the
powerful”, 300-319 in The Art of Ancient Spectacle. Studies in the History of
Art, National Gallery Washington. [Online]
4. Greene, K. 2008. “Learning to consume: consumption and consumerism in the
Roman Empire”, Journal of Roman Archaeology 21: 64-82 [Online]
5. Henig, M. 1998. “Romano-British Art and Gallo-Roman Samian”. In: J. Bird (ed.),
Form and Fabric: Studies in Rome’s Material Past in Honour of B.R. Hartley.,
Oxford: Oxbow, 59–67.[ INST ARCH DAA 170 Qto BIR] Xerox for TC
6. Wallace-Hadrill, A. 2008. Rome’s Cultural Revolution. Ch ?, “Waves of fashion”,
esp. pp. 407-421 ‘Pottery from Samian to Arretine’. [ANCIENT HISTORY R 72
WAL ‒ chapter will be xeroxed for Teaching Collection]
7. Webster, P. and Webster, J. 2013. “Classical figures in a provincial landscape. A
study in the iconography of Samian”. In: M. Fulford and E. Durham (eds.),
Seeing Red: New Economic and Social Perspectives on Gallo-Roman Terra
Sigillata, London: Institute of Classical Studies, 340–348. [YATES QUARTOS P
42 FUL] Xerox for TC
Sophocles cup and techniques of silver-smithing – student presentation
Location: Room 70, Case 13
▲Corbett P.E. and D.E. Strong. 1960/1. "Three Roman silver cups". British Museum
Quarterly XXIII, 66-86, pls. xxxi-xxxvii. [Online]
▲Haynes, S. 1961. "Drei neue Silberbecher im British Museum" Antike Kunst IV,
30-6 pls. 15-16. (in German, but with excellent plates of the Sophocles cup)
[Online]
G341 MM.Ro. Course Handbook 2016
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▲Sherlock, D. 1976. "Silver and silver-smithing", pp. 11-23 in Strong and Brown
eds. Roman Crafts. [INST ARCH K STR; ISSUE DESK IOA STR 8]
The Warren Cup – Student presentation
Room 70, Case 12a]
▲Clarke, John R. 1993. “The Warren cup and the contexts for representations of
male to male love-making in Augustan and early Julio-Claudian art”, Art
Bulletin 75: 275-94 [Online]
_____. 1998. Looking at Love-Making: Constructions of Sexuality in Roman Art 100
BC-AD 250.
▲Pollini, John. 1999. “The Warren cup: homoerotic love and symposium rhetoric in
silver”, Art Bulletin 81: 21-52 [Online]
Williams, Dyfri. 2006. The Warren Cup. London.
▲Williams, Dyfri. 2015. “A cantharus cup from ancient Betar near Jerusalem (the socalled Warren cup) and Roman silver plate”, BABESCH 90: 155-198. [ISC
Persiodicals; PDF can be downloaded from Williams AcademiaEdu page]
Silver – general bibliography:
Barratte, Francois. 1985. “À propos de la vaiselle d’argent Romain: valeur métallique,
valeur artistique”, Bulletin de la Societé française de Numismatique 50: 625629
_____.
Johns, C. 1990. "Research on Roman silver plate", Journal of Roman Archaeology 3, 2843
Künzl, Ernst. 1975. “Eine Silberkanne mit Kentauromachie aus Pompeji”, Jahrbuch der
Römisch-germanischen Zentralmuseums Mainz 22: 62-80
_____. 1997. “Römische Tempelschätze und Sakralinventare: Votive, Horte, Beute”,
Antiquité Tardive 5: 57-81
Lehmann-Hartleben, K. 1938. “Two Roman silver jugs”, American Journal of
Archaeology 42: 82-105
Painter, Kenneth S. 2001. The Insula of the Menander at Pompeii, vol IV: the Silver
Treasure. Oxford: Clarendon.
Tamm, John. 2001. Argentum Potorium in Roman Campanian Wall-Paintings. PhD
MacMaster University. [Online]
Tamm. John. 2004. “Roman drinking silver: terms, forms and functions; some notes”,
453-67 in Rory B. Egan and Mark A. Joyal eds. Daimonopylai: Essays in Classics
and the Classical Tradition Presented to Edmund G. Berry. Winnipeg: University
of Manitoba Centre for Hellenic Civilization. [ICS 202 BER]
Tamm, John. 2005. Argentum potorium and the Campanian wall-painter: the Priscus
service revisited”, Bulletin Antieke beschaving 80: 73-90 [ICS]
Van de Grift, John. 1984. “Tears and revel: the allegory of the Berthouville centaur
skyphoi”, American Journal of Archaeology 88: 377-88.
[Hoby Cups – Copenhagen]
Poulsen, Vagn H. 1968. “Die silberbecher von Hoby”, Antike Plastik 8: 69-74
Johansen, K. Friis. 1960 “New evidence about the Hoby Silver cups”, Acta Archaeologia
31: 185-90 (Replication of central submission scene on Arretine pottery).
G341 MM.Ro. Course Handbook 2016
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Kunzl, Ernst. 1988. “Die zwei Silberbecher des Cheirisophos von Hoby”, in Kaiser
Augustus und die verlorene Republik. 569-71, nos. 396, 397. Exh. Cat. Mainz: P.
von Zabern.
Vermeule, C.C. 1963. "Augustan and Julio-Claudian Court Silver", Antike Kunst 6, 33-40
(Hoby cups)
Berthouville Treasure (Bernay, France)
Lajoye, Patrica. 2008. “Analyse sociale des donateurs du trésor de Berthouville (Eure)”.
In Romanisation et épigraphie: Études interdiscilinaires sur l’acculturation et
l’identité dans l’Empire romain, edited by Ralph Häussler. 127-32. Archéologie et
historire romaine 17. Montagnac: M. Mergoil.
*Lapatin, Kenneth. 2014. “Some reflections on the Berthouville ‘Dichterbecher’”. In
Mémoire, deconstruction, recreation dans les arts visuels et la poésie de l’époque
hellénistique à premier siècle apr. J.-C.Edited by Pascale Linant de Bellefonds,
Évelyn Prioux and Agnes Rouveret. Paris. {forthcoming?}
Mobius, Hans. 1951. “Zu den Dichterbechern von Bethouville”, BABesch 26: 57-62. [ICS
– only from no 31. 1957 - find]
Picard, Charles. 1948. “Sur les aiguières à sujets homérique du Trésor de Bernay
(Bibliothèque Nationale)”, Comptes rendus des séances de l’Académie des
inscriptions et belles-lettres 92, no 1: 95-111.
_____1950. “Un cenacle littérarre hellenistque sur deux vases d’argent du trésor de
Berthouville-Bernay”, MonPio 44: 53-82
Other Roman silver in BM – other hoards (worth looking at, but no bibliography I
could track down, other than BM Catalogue)
Walters, H.B. 1922. Catalogue of the Silver Plate (Greek, Etruscan and Roman in the
British Musueum). London [YATES QUARTOS T 50 BRI]
Thil Hoard, Caubiac. Discovered 18thC. Room 70 (1824,0489.71 etc; Room 70, case
30)
Chaourse Hoard – discovered 1880, 3rd/2nd century Room 70.
Chatuzange Hoard – discovered 1893. Room 70
[K. Painter, 1989. “Le Tresor de Chatuzange in 'Tresors d'orfevrrerie gallo-romaine”,
ed F. Baratte (ed)), 1989, Paris. CUL SF 410:3.c.95.49]
LUXURY CERAMICS AND TABLEWARES
Lead-glazed ceramics – Student presentation
Location: Room 70, Case 14 (also Case 19, but best focus on case 14 materials)
▲Greene, Kevin. 2007. “Late Hellenistic and early Roman invention and innovation:
the case of lead-glazed pottery”, American Journal of Archaeology 111.4:
653-71. [Online]
▲Roberts, P. 2006.‘“Singing all summer and dancing all winter”, a group of leadglazed ware vessels in the British Museum’ in N.Crummy (ed.) Image, Craft
and the Classical World. Essays in Honour of Donald Bailey and Catherine
Johns. Instrumentum, monograph 29. 2006, 23-38 (2006). [YATES QUARTOS A
6 BAI]
Arretine ware: iconography and decoration: Student presentation
G341 MM.Ro. Course Handbook 2016
18
Location: Room 70, Case 16. Samian ware bowl, from Trier – Diana and Actaeon
GR1855.8-4.16; Arretine Krater with images of Seasons, GR 1869.2-5.4.
Samian Bowl, decoated with tendrils and buds, Xanten, GR1859.2-5.5;
Applique medallions from the Morel Collection – GR1912.11-25,23,
GR1904.2-4.441]
Bird, J. 2012. “Arena scenes with bulls on South Gaulish Samian”. In: D. Bird (ed.),
Dating and Interpreting the Past in the Western Roman Empire. Essays in
Honour of Brenda Dickinson, Exter: Oxbow, 135–148. [YATES QUARTOS A 6
BIR]
▲Bird, J. 2013. “Samian in religious and funerary contexts”. In: M. Fulford and E.
Durham (eds.), Seeing Red: New Economic and Social Perspectives on GalloRoman Terra Sigillata, London: Institute of Classical Studies, 326–339. [YATES
QUARTOS P 42 FUL]
▲Webster, P. and Webster, J. 2013. “Classical figures in a provincial landscape. A
study in the iconography of Samian”. In: M. Fulford and E. Durham (eds.),
Seeing Red: New Economic and Social Perspectives on Gallo-Roman Terra
Sigillata, London: Institute of Classical Studies, 340–348. [YATES QUARTOS P 42
FUL]
Desbat, A. and Savay-Guerraz, H. 2011. Images d’argile: les vases gallo-romains à
médaillons d'applique de la Vallée du Rhône, Gollion: Infolio, 159.
Marabini Moevs, M. T. 2006. Cosa. The Italian Sigillata. Memoirs of the American
Academy in Rome. Supplementary Volume III., Ann Arbor, Michigan: The
University of Michigan Press. [YATES QUARTOS E 22 COS; and Online]
▲Pucci, Guiseppe. 1981. “La ceramica arretina: imagerie e correnti artistiche”, in
L’art decoratif à Rome à la fin de la République et au début du Principat. Rome.
115-117. [YATES A 6 ECO]
▲Webster, P. and Webster, J. 2012. “Is your figure less than Greek?” Some Thoughts
on the Decoration of Gaulish Samian Ware. In: D. Bird (ed.), Dating and
Interpreting the Past in the Western Roman Empire. Essays in Honour of Brenda
Dickinson, Exeter: Oxbow, 195–215. [YATES QUARTOS A 6 BIR]
Ceramic Fine Wares – broader contexts
Fulford, Michael. 1986. “Pottery and precious metals in the Roman world”, in
Michael Vickers ed. Pots and Pans Oxford. 153-60. [INST ARCH K VIC]
Woolf, Greg. 1998. Becoming Roman: the Origins of Provincial Civilization in
Roman Gaul. Cambridge. 185-93 “The consumer revolution in ceramics”,
193-205 “Mass consumption and regional traditions”
Wallace-Hadrill, Andrew. 2008. Rome’s Cultural Revolution. Cambridge. 407-421
“Pottery: from Samian to Arretine” [ANCIENT HISTORY R 72 WAL – 2
copies]
*Peacock, D.P.S. 1982. Pottery in the Roman World. Chapter 7, pp. 114-128 “The
giant fineware producers”. [INSTARCH DA 170 PEA; ISSUE DEAK IOA
PEA 12]
*Pitts, Martin. 2015. “Globalisation, circulation and mass consumption in the Roman
world”, 69-98 in Martin Pitts and Miguel John Versluys eds. Globalisation
and the Roman World: World History, Connectivity and Material Culture.
Cambridge. [Online]
G341 MM.Ro. Course Handbook 2016
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*Roberts, Paul. 1997. “Mass production of Roman finewares”, 188-193 in Ian
Freestone and David Gaimster eds. Pottery in the Making: World Ceramic
Traditions. British Museum Press.[INSTARCH KD FRE – 3 copies; ISSUE
DESK INSTARCH FRE 5]
[*]Johns, Catherine. 1971. Arretine and Samian Pottery. British Museum Press. (Very
short ca 20 pages text) [YATES P40 JOH - 2 copies]
[*]De la Bedoyere, Guy. 1988. Samian Ware. Shire Archaeology: Princes
Risborough. (Also a very short introduction) [INSTARCH KD BED; YATES
P40 DEL]
Paturzo, Franco. 1996. Arretina Vasa: La ceramic Arretina da mensa in età Romana –
arte, storia e tecnologia. Esp. ch 5 “L’argentaria da tavola nel mondo antico e
la ceramic aretina”. [YATES P 40 PAT]
Hayes. John. 1997. Handbook of Mediterranean Roman Pottery. British Museum
Press.
van den Hoek. 2006. “Peter , Paul and a Consul : Recent Discoveries in African Red
Slip Ware”, Zeitschrift für antikes Christentum 9.2: 197-246 [Available online
via Warburg Library; need Senate House Library card]
Roman Luxury
[Edwards, Catharine. 1993. The Politics of Immorality in Ancient Rome. Cambridge. ]
*Friedlander, Ludwig. 1936. Roman Life and Manners under the early Empire. Trans
JH, Freese and LH Magnus. Vol 2, chapter 2 “Roman Luxury”, pp. 131-230
Lapatin, Kenneth. 2008. “Luxus”, in Pompeii and the Roman Villa: Art and Culture
around the Bay of Naples. Ed. Carol C. Mattusch. 31-51. London.
_____. 2015. “Luxury arts”, in Barabra E. Borg ed. A Companion to Roman Art.
Oxford: Wiley-Blackwell.
La Rocca, Egenio. 1986. “Il lusso come espressione di potere”, 3-35 in Maddalena
Cima and Eugenio La Rocca eds.
Zeiner, Noelle K. 2005. Nothing Ordinary Here: Statius as Creator of Distinction in
the Silvae. Routledge. 191-200 art collecting; chapter 3 ‘Material wealth in the
Silvae’. [CLASSICS LS 18 ZEI]
Wyetzner, P. 2002. “Sulla’s Law on Prices and the Roman Definition of Luxury”.
Aubert and Sirks (eds.). Speculum Iuris: Roman Law as a Reflection of Social
and Economic Life in Antiquity. Ann Arbor: University of Michigan Press.
Dari-Mattiacci, Giuseppe and Anna E. Plisecka. 2010. “Luxury in Ancient Rome:
Scope, Timing and Enforcement of Sumptuary Laws”. Amsterdam Centre for
Law and Economics. Working Paper No. 2010-03: 1-27. [Online – google]
Zanda, Emanuela. 2011. Fighting Hydra-Like Luxury: Sumptuary Regulation in the
Roman Republic. London: Bristol Classical Press
Theoretical inspirations
Appadurai, Arjun. 1986. “Introduction: Commodities and the Politics of Value”.
Arjun Appadurai (ed.) The Social life of things: commodities in cultural
perspective. Cambridge: Cambridge University Press. 3-62.
Clark, Grahame. 1986. Symbols of Excellence: Precious Materials as Expressions of
Status. Cambridge.
Douglas, Mary, and Baron C. Isherwood. 1979. The World of Goods. New York:
Basic Books.
*Graeber, D. 2011. “Consumption” Current Anthropology 52.4: 489-511
G341 MM.Ro. Course Handbook 2016
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Simmel, Georg. 1900. “A Chapter in the Philosophy of Value”. American Journal of
Sociology. 5 (5): 577-603
Veblen, T. 1924. Theory of the Leisure Class. London.
Essay topic:
Either: “What special problems and opportunities characterise the study of either
silverware or ceramic fine-wares as categories of Roman art production?”
Or: How much do luxury silver vessels and mass-produced ceramic fine-wares of the
Roman empire have in common, and with what implications for how we
should understand the use of such objects, and the meanings attributed to
them, by their consumers?
G341 MM.Ro. Course Handbook 2016
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5. PORTRAITURE AND THE MAKING OF IDENTITIES IN THE SECOND
CENTURY
Topic outline:
Portraiture was one of the most widespread and varied genres of artistic
production in the Roman world. This class will explore both imperial and private
portraits from a number of regional and material traditions represented in the British
Museum collections: marble portraits of Roman emperors and empresses; limestone
funerary portraits from Palmyra, and painted mummy-portraits from the Fayum. The
central focus of our discussions will be on the role played by portraiture in the
construction of identities. How far do portraits communicate shared Roman identity?
In so far as portrait identities are socially constructed, who are the parties who
negotiate such ‘constructions’ and with what entailments for the character of portraits.
How far do the distinctive traditions of material practice which inform portraitmaking in different regions and contexts affect the material agency of portraitimages?
Required readings:
1. Smith, R.R.R. 1998. “Cultural choice and political identity in honorific portrait
statues in the Greek East in the second century AD. Journal of Roman Studies
88: 56-93. [Online]
2. Smith, R.R.R. 2006. Roman Portrait Statuary from Aphrodisias. Mainz: von
Zabern. “Portraits and local history” 40-1, 44-54 (1stC AD) 54-67 (2ndC AD)
{focussing on spatial placement}. [On order for IoA; ICS = Institute of
Classical Studies, Senate House: X107D APH – Reference Only]
3. Stewart, Peter. 2008. The Social History of Roman Art. Cambridge: Cambridge
University Press. 77-107 “Portraits in society”. [YATES A 40 STE ‒ 2 copies;
xerox for TC]
4. Zanker, Paul. 1995. The Mask of Socrates: the Image of the Intellectual in
Antiquity. Berkeley: University of California Press. 198-266 “Hadrian’s
beard”. [YATES M 215 ZAN; 1 copy only ‒ will be placed on Issue Desk ]
5. Borg, Barbara and Glenn W. Most. 2000. “The face of the elite”, Arion 3rd series
8.1: 63-96. {on fayum portraits}. [Online]
6. Heyn, Maura K. 2010. “Gesture and identity in the funerary art of Palmyra”
American Journal of Archaeology 114.4: 631-661 [Online] {excellent biblio}
7. Gleason, P. 1983. “Identifying identity: a semantic history”, Journal of American
History 69: 910-931 [Online]
Portraits of women in the second century AD – student presentation
Location: Room 70: list
▲Kleiner, Diana. 1992. Roman Sculpture. New Haven: Yale. 277-80 “Female
portraiture under the Antonines, the Faustinas”. [YATES Qto M70 KLE - 2
copies, plus one to Issue Desk]
▲Bartman, E. 2001. “Hair and the artifice of Roman female adornment”, AJA 105.1:
1-25 {discusses BM examples} [Online]
▲Fittschen, K. 1996. “Courtly portraits of women in the era of the adoptive emperors
(AD 98-180) and their reception in Roman society”, 42-52 in D. Kleiner and
S. Matheson eds. I Claudia: Women in Ancient Rome. New Haven: Yale
University Press. [YATES QUARTOS A60 KLE]
G341 MM.Ro. Course Handbook 2016
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▲Davies, Glenys. 2008. “Portrait statues as models for gender roles in Roman
society”, 207-220 in Memoirs of the American Academy in Rome.
Supplementary Volume 7. [Online]
Bieber, M. 1962. “The copies of the Herculaneum women”, ProcPhilSoc 106: 111134 [Online]
[Stephens, J. 2008. “Ancient Roman hairdressing: on (hair) pins and needles”, JRA
21.1: 111-132]
D’Ambra, E. 2000. “Nudity and adornment in female portrait sculpture of the sccond
century AD”, in D.E.E. Kleiner and S.B. Matheson eds. I Claudia II: Women
in Roman Art and Society. Austin: 101-14. [ICS 152J.1 KLE]
MacMullen, R. 1980. “Women in public in the Roman empire”, Historia 29: 208-18
[Online]
Meyers, Rachel. 2012. “Female portraiture and female patronage in the high imperial
period”, 454-466 in Sharon L. James and Sheila Dillon eds. A Companion to
Women in the Ancient World. London: Blackwell. [Online]
*Trimble, Jennifer. 2000. “Replicating the body politic: the Herculaneum Women
statue types in early imperial Italy”, Journal of Roman Archaeology 13 : 4168. [Online]
Techniques of portrait sculpture – JJT
Brilliant, Richard. 1993. “Hairiness: a matter of style and substance in Roman
portraits”, Studies in the History of Art 43: 302-12. [Online]
Pfanner, M. 1989. “Über das Herstellen von Porträts’, Jahrbuch des Deutschen
Archaologischen Instituts 104: 157–257. [IoA Periodicals]
Boschung, Dietrich von and Pfanner, Michael. 1988. “Antike Bildhauertechnik: vier
Untersuchungen an Beispielen in der Münchner Glyptothek”, Münchner
Jahrbuch der Bildenden Kunst xxxix: 7-28
Antinous and Hadrian – student presentation
▲Kleiner, Diana. 1992. Roman Sculpture. 237-244 (Portraiture of Hadrian, Sabina,
Antinous). [YATES QUARTOS M 70 KLE ‒ 3 copies; one to Issue Desk]
▲Vout, C. 2005. “Antinous, archaeology and history”, Journal of Roman Studies 95,
80-96 [Online]
▲Burns, B. 2008. “Sculpting Antinous”. Helios 35.2, 122-142. [Online] (mainly on
modern receptions)
Opper, Thorsten. 2008. Hadrian, Empire and Conflict. London: British Museum.
ANCIENT HISTORY QUARTOS R 16 OPP
Vout, Caroline. 2010. “Hadrian, Hellenism and the Social history of art”, Arion 18.1:
55-78 [Online]
Vout, C. (2003), ‘A Revision of Hadrian’s Portraiture’, in L. de Blois, P. Erdkamp, O.
Hekster, G. de Kleijn, and S. Mols, eds., The Representation and Perception of
Roman Imperial Power. Proceedings of the Third Workshop Rome 2002.
Amsterdam. 442–57. [ICS 121E CON]
Vout, C. 2006. “What’s in a beard? Rethinking Hadrian’s Hellenism”, 96-123 in S.
Goldhill and R. Osborne eds. Rethinking Revolutions through Ancient Greece.
Cambridge. [ANCIENT HISTORY P 72 GOL]
Vout, C. 2006. Antinous: the Face of the Antique. Leeds: Henry Moore Foundation.
Evers, C. (1994), Les portraits d’ Hadrien. Typologie et ateliers. Brussels.
Antonine Portraits of Emperors – student presentation
G341 MM.Ro. Course Handbook 2016
23
Location : Room 70 -Antoninus Pius, Lucius Verus, Marcus Aurelius
▲Kleiner, Diana. 1992. Roman Sculpture. Pp insert. [YATES QUARTOS M 70 KLE ‒ 3
copies, one to Issue Desk]
▲Albertson, F.C. (2004), ‘The Creation and Dissemination of Roman Imperial
Portrait Types: The Case of Marcus Aurelius Type IV’, Jahrbuch des
Deutschen Archäologischen Instituts 119: 259–306.
▲Boschung, D. 2012. “The portraits” in Marc van Ackeren ed. A Companion to
Marcus Aurelius. Oxford: Blackwell. [Online]
Fayum Portraits: Student Presentation
Location: Room 62, case 17, and Case 22 for Artemidorus)
Shore, A.F. 1972. Portrait Painting From Roman Egypt. (British Museum Booklet)
▲Doxiadis, E. 1995. The Mysterious Fayum Portraits: Faces from Ancient Egypt.
Pp. 34-46 "Graeco-Roman Egypt" (The social and religious context), 82- 102
"The Portraits" (The Pictorial Tradition: from Apelles to Icons; Technique:
Scale, Materials and Colours) (EGYPTOLOGY QUARTOS M20 DOX)
▲Walker, Susan and Bierbrier, Maurice. Eds. 1997. Ancient Faces: Mummy Portraits
from Roman Egypt. {Excellent plates; Contains some good short essays for the
exhibition, esp. Walker on the relation to Greek and Roman portraiture; plus
121-4 Some Technical aspects} (EGYPTOLOGY QUARTOS M20 WAL)
▲Walker, S. 1997. Ancient Faces: Mummy Portraits from Ancient Egypt. Cat. Nos.
18, 24, 25, 56, 81, 141, 143. [(EGYPTOLOGY QUARTOS M20 WAL)
*Riggs, Christina. 2002. “Facing the dead: recent research on the funerary art of
Ptolemaic and Roman Egypt”, American Journal of Archaeology 106: 85-101
[Online]
▲_____. 2012. “Portraits, prestige, piety: images of women in Roman Egypt”, 423436 in Sharon L. James and Sheila Dillon eds. A Companion to Women in the
Ancient World. London: Blackwell. [Online]
Corcoran, L.H. 1992. "A cult function for the so-called Faijum mummy portraits", pp.
57-62 in J.H. Johnson ed. Life in a Multi-Cultural Society: Egypt from
Cambyses to Constantine and Beyond. Chicago. (EGYPTOLOGY
QUARTOS A6 DEM)
Cormack, Robin. 1997. Painting the Soul: Icons, Death Masks and Shrouds. London,
Transaction. 64-73 on Fayum portraits as background to Christian icons, and
esp. for portraits with frames. (ART BC 10 COR)
*Montserrat, D. 1993. “The representation of young males in ‘Fayum portraits’”.
Journal of Egyyptian Archaeology 79: 215-225. (JSTOR)
**Bierbrier, M.L. ed. 1997. Portraits and Masks: Burial Customs in Roman Egypt.
London, British Museum Press. (EGYPTOLOGY QUARTOS M20 BIE)
*Walker, Susan E.C. 1997. “Mummy portraits in their Roman context”, in Bierbrier
ed. 1-6
Borg, Barbara. 1997. “The dead as a guest at table? Continuity and change in the
Egyptian cult of the dead”, in Bierbrier ed. 26-32
*Corcoran, Lorelei H. 1997. “Mysticism and the mummy portraits” in Bierbrier ed.
45-54.
Daszewski, W.A. 1997. “Mummy portraits from Northern Egypt: the necropolis in
Marina el-Alamein”, in Bierbrier ed. 59-66
Doxiadis, Euphrosyne. 1997. “From eikon to icon: continuity in technique”, in
Bierbrier ed. 78-80
G341 MM.Ro. Course Handbook 2016
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Palymyrene Funerary busts – JJT
Room 70
▲Colledge, M.A.R. 1976. The Art of Palmyra. Pp. 58-77 "Funerary sculpture",
109-118 "Funerary sculpture", 122ff iconography - esp. 126f frontality, 138-9
gestures, 139-41 headgear, 141-4 hairstyles, 144-5 features, 145-9 clothing,
149-50 drapery, 150-2 jewellery
▲Heyn, Maura K. 2010. “Gesture and identity in the funerary art of Palmyra”
American Journal of Archaeology 114.4: 631-661 [Online] {excellent biblio}
_____. 2012. “Female portraiture in Palmyra”, 439-442 in Sharon L. James and Sheila
Dillon eds. A Companion to Women in the Ancient World. London: Blackwell.
[Online]
Smith, Andrew M. 2013. Roman Palmyra: Identity, Community and State
Formation. Oxford. [INSTARCH DBD 10 SMI] {Good up to date historical
study; thin on art, but interesting for social and cultural context}
Drijvers, H. J. W. 1982. “Afterlife and funerary symbolism in Palmyrene religion.”
In Bianchi, U. and Vermaseren, M. J. (eds.), La soteriologia dei culti oriental
nell’Impero Romano. Leiden. 709–33. [ICS 122i cannot find, 1.2016;
WARBURG BKG 400]
Parlasca, K. 1988. “Ikonographische Probleme palmyrenischer Grabreliefs.” DaM 3:
215–21. [IoA Periodicals]
[Ploug, G. 1995. Catalogue of the Palmyrene Sculptures, Ny Carlsberg Glyptotek.
Copenhagen. Find?]
Sadurska, A. 1994. “Recherches sur les sculptures.” In Sadurska, A. and Bounni, A.
(eds.), Les Sculptures Funeraires de Palmyre . Rome. 181–95 [ICS X 105E
PAL – Reference]
—— 1996. “L’art et la societe: Recherches iconologiques sur la sculpture funeraire
de Palmyre.” In Palmyra and the Silk Road. Les Annales archaeologiques
Arabs Syriennes: Revue d’Archaeologie et d’Histoire 42. 285–8. FIND
Balty, J.C. 1996. “Palmyre entre Orient et Occident: Acculturation et resistances.” In
Palmyra and the Silk Road. Annales Archeologiques Arabes Syriennes 42:
437–41. FIND
[Cussini, E. 2004. “Regina, Martay and the others: Stories of Palmyrene women.”
Orientalia 73: 1–10. ]
—— 2005a. “Beyond the spindle: Investigating the role of Palmyrene women.” In
Cussini (ed.): 26–43 in idem ed. A Journey to Palmyra. Collected Essays to
Remember Delbert R. Hillers. Leiden and Boston. [INST ARCH DBD 10 CUS]
[Interesting on contexts but not much on art]
Yon, J.-B. 2002. Les Notables de Palmyre. Beirut.
General bibliography on Roman portrait sculpture, focussing on second century AD
Fejfer, J. 2008. Roman Portraits in Context. Berlin/New York. [YATES M 225 FEI]
Smith, R.R.R. 2006. Roman Portrait Statuary from Aphrodisias. Mainz: von Zabern.
(Reviewed J. Tanner, BMCR 2007.04.70)
Stewart, Peter. 2003. “Portrait statues and the statuesque”, 79-117 in Statues in
Roman Society: Representation and Response. Oxford.
Trifilo, Francesco. 2007. “Power, architecture and community in the distribution of
honorary statues in Roman public space”, in Fenwick, C., Wiggins, M. and
Wythe, D. (eds), TRAC 2007: Proceedings of the Seventeenth Annual
G341 MM.Ro. Course Handbook 2016
25
Theoretical Roman Archaeology Conference, London 2007. pp.109-120.
Oxford: Oxbow Books.
Social and cultural contexts and supplementart bibliography:
Brubaker, R. and Cooper, F. 2000. “Beyond identity”, Theory and Society 29: 1-47
[Online]
Gleason, Maud W. 1995. Making Men: Sophists and Self-Presentation in Ancient
Rome.Princeton.
Goldhill, Simon ed. 2001. Being Greek under Rome: Cultural Identity, the Second
Sophistic and the Development of Empire. Introduction 1-25 (17ff good
discussion of ‘identity’)
Essay questions:
Either: “We can expect to capture little of the social and cultural significance of
sculpted portraits in the Roman empire, without proper attention to the
material processes and technologies of their production”. How far do you
agree with this statement?
Or: How can we best approach the social and cultural significance which Roman
portraits may have held for their original viewers?
G341 MM.Ro. Course Handbook 2016
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6. ART AS IMPERIAL PROPAGANDA: LOOKING AT TRAJAN’S COLUMN
This class will be held in the Cast Court of the Victoria and Albert Museum,
which includes a direct life-size cast of Trajan’s column (in some respects, better
for looking at than the original!, [for others not]).
Topic outline:
It has been commonplace in studies of Roman art to understand the major state
monuments as exemplars of ‘propaganda’, an approach best exemplified in Zanker’s
classic study of The Power of Images in the Age of Augustus which drew direct
analogies with the propaganda of the Nazi state (also broadly neo-classical in style).
More recent scholarship has sought to question the relevance of this modernising
model to ancient art, laying particular emphasis on the difficulties of reading the
helical frieze, and challenging iconographic decodings of the frieze as straightforward
‘propaganda’.
In this class we will approach Trajan’s column from a number of angles. How
was and built and designed, and what was its purpose? What is the image which it
projects of Trajan as emperor, and of his campaigns in Dacia? How can we
characterise the visual languages – iconography and style – which characterise the
helical frieze, and how can we read their messages? How should we think about how
ancient viewers – and in particular different categories of viewer – may have
responded to this monument?
Required readings:
1. Brilliant, R. 1984. "The Column of Trajan and its Heirs." Pp. 90-123 in idem Visual
Narratives. [IoA TC 415; YATES Qto A35 BRI]
2. Veyne, Paul. 1988. “Conduct without belief and works of art without viewers”,
Diogenes 143: 1-22 [Online]
3. Clarke, John R. 2003. Art in the Lives of Ordinary Romans: Visual Representation
and Non-elite Viewers in Italy, 100 BC-AD 315. Berkeley: University of
California Press. 28-41 “Trajan’s forum and the new imperial city”. [YATES A
50 CLA; ISSUE DESK IOA CLA 29]
4. Davies, P.J.E. 1997. “The politics of perpetuation: Trajan’s column and the art of
commemoration”, American Journal of Archaeology 101.1: 41-65 [Online]
5. Huet, Valerie. 1996. “Stories one might tell of Roman art: reading Trajan’s column
and the Tiberius cup”, in J. Elsner ed. Art and Text in Roman Culture.
Cambridge. 9-31. with excellent bibl; [YATES A 40 ELS ‒ plus xerox for TC]
6. Stephenson, John W. 2013. “The column of Trajan in the light of ancient
cartography and geography”, Journal of Historical Geography 40: 79-93.
[Online]
Design and building of the column of Trajan – student presentation
▲Beckmann, M. (2006), ‘The Direction of Carving on the Columns of Trajan and
Marcus Aurelius’, Mitteilungen des Deutschen Archaologischen Instituts,
Römische Abteilung 112: 225–36. [IoA Periodicals]
Beckmann, M. (2002), ‘The Columnae Coc(h)lides of Trajan and Marcus Aurelius’,
Phoenix 56: 1–10. {Should be available online, subscription problem being
sorted}
G341 MM.Ro. Course Handbook 2016
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▲Lancaster, L. (1999), ‘Building Trajan’s Column’, American Journal of
Archaeology 103: 419–39. [Online]
▲Wilson-Jones, Mark. 2000. Principles of Roman Architecture. New Haven: Yale
University Press. Pp. 161-76 (building Trajan’s column). [YATES K5 JON]
Wilson Jones, M. 1993 "One Hundred Feet and a Spiral Stair: the Problem of
Designing Trajan's Column," Journal of Roman Archaeology 6: [Online]
Gender on the column of Trajan – student presentation
▲Dillon, S. 2006., ‘Women on the Column of Trajan and Marcus and the Visual
Language of Roman Victory’, in S. Dillon and K.E. Welch, eds.,
Representations of War in Ancient Rome. New York. 244–71. [YATES A 60 DIL]
▲Kampen, Natalie. 1995. “Looking at gender: the Column of Trajan and Roman
historical relief”, in D.C. Stanton and A.J. Stewart eds. Feminisms in the
Academy. Ann Arbor, University of Michigan Press. 43-73. [ANTHROPOLOGY
D 47 STA ‒ 3 copies]
Sacrifice on the column of Trajan – student presentation
▲Scott-Ryberg, I. 1955. Rites of the State Religion in Roman Art. Memoirs of the
American Academy in Rome. See Index s.v. Trajan’s column: lustration of
camp 109-13; vota soluta on arrival 121-25; vota suscepta on departure 121,
125 f.; motifs of 199. [Online]
▲Gordon, R.L. . 1990. "The veil of power: emperors, sacrificers and benefactors", pp.
199-232 in M. Beard and J. North eds. Pagan Priests: Religion and Power in the
Ancient World. [TC IOA 595, Main Library: ANCHIST B74 BEA]
Picturing war: style and narrative on Trajan’s column – student presentation
▲Hamberg, P. G. 1945. Studies in Roman Imperial Art. Pp. 104-61 "The Columns of
Trajan and Marcus Aurelius and their Narrative Treatment: the Epic
Documentary Tradition in State Reliefs." Pp. 162-92. "Convention and
Realism in the Battle Scene: on the Relations between Formal Legacy and
Contemporary Experience." [YATES QUARTOS M 126 HAM ‒ Reference only]
▲Holscher, Tonio. 2004. “Battle scenes their reception in Rome”, 38-46 in The
Language of Images in Roman Art. Cambridge. (Also recommend chapter 4,
23-37 “Battle scenes: the tradition of Hellenistic pathos). (Plus s.v. Trajan’s
column 63, 89-90)
Holscher, T. 1991a. "Einleitung." In "Narrative Systematik und politisches Konzept in
den Reliefs der Traianssaule: Drei Fallstudien," by L.E. Baumer, T. Holscher,
and L. Winkler, 261-66. Jd/106:261-95. -.
_____. 1991b. "Vormarsch und Schlacht." In "Narrative Systematik und politisches
Konzept in den Reliefs der Traianssaule: Drei Fallstudien," by L.E. Baumer,
T. T. Holscher, and L. Winkler, 261-66. Jd/106:261-95
Richmond, A.I. 1935. "Trajan's army on Trajan's column", Papers of the British
School at Rome 13, 1-40. (Reprinted as monograph, Rome 1982)
Supplementary reading: Propaganda and Trajan’s Column:
Kleiner, Diana. 1992. Roman Sculpture. 212-220 “The forum and column of Trajan”.
Coulston, J.C.N.1990a. "The Architecture and Construction Scenes on Trajan's
Column." In Architecture and Architectural Sculp ture in the Roman Empire,
edited by M. Henig, 39-50. Ox ford: Oxford University Committee for
Archaeology. -.
G341 MM.Ro. Course Handbook 2016
28
_____.1990b. "Three New Books on Trajan's Column." JRA 3:290-309.
*Brilliant, Richard. 1963. Gesture and Rank in Roman Art. Connecticut Academt of
Arts and Sciences: New Haven. Pp. 118-127 “The reliefs of Trajan’s column”
(focus on imperial gesture)
Fehr, B. "Das Militar als Leitbild. Politische Funktion und Gruppenspezifische
Wahrnehmung des Traiansforums und der Traianssdiule,' Hephaistos 7-8
(1985-1986) 51-53,
Lepper, F.A. and Frere, S. 1988. 'Trajan's Column: a New Edition of the Cichorius
Plates'. Gloucester.
Packer, J.E. 1994."Trajan's Forum Again: The Column and the Temple of Trajan in
the Master Plan Attributed to Apollodorus(?)," JRA 7 (1994) 163-82.
Packer, J.E. 2008. "The Column of Trajan: The Topographical and Cultural
Contexts." Review of La Colonne Trajane JRA 21
Rockwell, P. "Preliminary Study of the Carving Techniques on the Column of
Trajan," in P. Pensabene ed., Marmi Antichi (Studi Miscell 26 [1981-83]) 105
Settis, Salvatore. Et al. 1985. “La colonne Trajan: invention, composition,
disposition”, Annales, Histoires, Sciences Sociales 40.5: 1151-1194 [Online]
_____1991. “La colonne Trajane: l’empereur et son public”, Revue Archéologique “,
186-98 [Online]
Veyne, P. 1990. “Propagande expression roi, image idole oracle”, L’homme 30, n.
114: 7-26 [Online]
Aijmer, G., 2000. Introduction: The Idiom of Violence in Imagery and Discourse. In:
Aijmer, G. and Abbink, J. (eds.), Meanings of Violence: A Cross-Cultural
Perspective. Oxford and New York: Berg, 1-21ANTHROPOLOGY D 82 AIJ
Essay question:
“How far can the concept of ‘propoganda’ take us in understanding the purposes and
impact of Trajan’s column?
G341 MM.Ro. Course Handbook 2016
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7. DEATH AND COMMEMORATION: THE SOCIAL LIFE OF SARCOPHAGI
Topic outline:
Roman sarcophagi have been collected and studied since the Renaissance.
Despite being one of the most familiar categories of Roman artistic production, their
interpretation remains very much contested, with a long standing debate between
minimalists who see their reliefs as largely decorative and symbolists who read deep
eschatological meanings into them. These debates have been continued into recent
scholarship, but with an increasing emphasis on the materiality of sarcophagi. This is
explored through studies of the manufacture and trade in sarcophagi, and also through
more contextual approaches to their interpretation, considering how they might have
been viewed in the tomb, against the background of funerary ritual and consolatory
rhetoric. We will explore these debates in relation to the extensive collection of
Roman sarcophagi housed in the basement of the British Museum.
Required readings:
1. Brilliant, R. 1984. "Mythological Sarcophagi: Proleptic Visions." Pp. 124-65 in
idem Visual Narratives. (YATES Qto A35 BRI – 2 copies, one Reference)
2. Nock, A. D. 1946. "Sarcophagi and Symbolism." American Journal of Archaeology
50, 140-70 [Online]
3. Newby, Z. 2015. “Poem in stone: reading mythological sarcophagi through Statius’
Consolations”, 256-287 in Jas Elsner and Michel Meyer eds. Art and Rhetoric
in Roman Culture. Cambridge. [Online]
4. Siotto, Eliana et al. 2015. “A multidisciplinary approach for the study and virtual
reconstruction of the ancient polychromy of Roman sarcophagi”, Journal of
Cultural HeritageI 16: 307-14. [Online]
5. Russel, B. 2014. “The Roman sarcophagus ‘industry’: a reconsideration”, 119-147
in J. Elsner and J. Huskinson eds. Life, Death and Representation. Some New
Work on Roman Sarcophagi. Berlin: de Gruyter. [YATES M 127 ELS ‒ xerox for
Teaching Collection ; place vol on Issue Desk]
6. Bartman, E. 1993. "Carving the Badminton sarcophagus".
Metropolitan Museum
Journal 28: 57-76 [Online]
7. Zanker, P. and B.C. Ewald. 2012. Living with Myths: the Imagery of Roman
Sarcophagi. 21-30 “Sarcophagus and tomb”, 30-36 “Living with myths”
[YATES QUARTOS M 127 ZAN ‒ to issue Desk]
Funerary urns
Davies, Glenys. 2010. “Before sarcophagi”, in Jas Elsner and Janet Huskinson eds.
Life, Death and Representation; Some New Work on Roman Sarcophagi.
Berlin: Walter de Gruyter 25-51
Children’s sarcophagi – student presentation
▲Walker, Susan. 1990. Catalogue of Roman Sarcophagi in the British Museum.
London: British Museum. Nos: 6, 7, 11, 36 (Octavius Isochrysos); plus Erotes:
27, 28, 29, 30 (all children’s sarcophagi: chariot theme, cupid and psyche).
YATES QUARTOS M 127 WAL ‒ move to issue desk
▲Huskinson, Janet. 2007. “Constructing childhood on Roman funerary memorials”,
323-338 in Constructing Childhood in Ancient Greece and Italy. Hesperia
Supplements, vol 41. [Online]
G341 MM.Ro. Course Handbook 2016
30
_____. 1996. Roman Childrens’ Sarcophagi. Oxford: Clarendon Press. [YATES
QUARTOS M 127 HUS]
▲D'Ambra, E. 2007. “Racing with death, Circus sarcophagi and the commemoration
of children in Roman Italy”, 339-51 in Constructing Childhood in Ancient
Greece and Italy. Hesperia Supplements, vol 41. [Online] [Online]
Herakles on Roman Sarcophagi – student presentation
▲Walker, Susan. 1990. Catalogue of Roman Sarcophagi in the British Museum.
London: British Museum. Nos: 15*, 64* [YATES QUARTOS M 127 WAL ‒ move
to issue desk]
▲Jongste, Peter F.B. 1992. The Twelve Labours of Hercules on Roman Sarcophagi.
Rome: L’Erma di Bretschneider. [Institute of Classical Studies, Senate House:
131K.2 JON] {Disappointing, but worth taking a look}
▲Thomas, Edmund. 2011. “Houses of the dead? Columnar sarcophagi as microarchitecture”, 387-435 in Elsner, Jas and Janet Huskinson eds. 2011. Life,
Death and Representation. Some New Work on Roman Sarcophagi. Berlin: de
Gruyter. Esp. p. 386-408 on Pillars of Heracles. [YATES M127 ELS]
May also be worthwhile to look at the relevant material in Lexicon Iconographicum
Mythologiae Classicae, if you read German
Achilles on Roman Sarcophagi – JJT
▲Walker, Susan. 1990. Catalogue of Roman Sarcophagi in the British Museum.
London: British Museum. Nos: 13 (on Skyros), 42 (and Penthesilea), 44 (cycle
of scenes, life of Achilles)
Giuliani, L. 1989. “Achill-Sarkophage in Ost und West. Genese einer ikongraphie”,
Jahrbuch der Berliner Museen 31: 25-39[Online]
Cameron, Alan. 2009. “Young Achilles in the Roman world”, Journal of Roman
Studies 99: 1-22 [Online]
May also be worthwhile to look at the relevant material in Lexicon Iconographicum
Mythologiae Classicae, if you read German
Culture and Learning – sarcophagi and paideia – student presentation
▲Walker, Susan. 1990. Catalogue of Roman Sarcophagi in the British Museum.
London: British Museum. Nos 23*, 24* (Muses), 25, 26, 66 (Philosophers,
poets etc). [YATES QUARTOS M 127 WAL ‒ move to issue desk]
Borg, Barbara. 2004. “Glamorous intellectuals and portraits of pepaideumenoi in the
second and third centuries AD”, 157-78 in B. Borg ed, Paideia: the World of
the Second Sophistic. Berlin: de Gruyter. [ANCIENT HISTORY R 72 BOR]
▲Huskinson, Janet. 1999. “Women and learning: gender and identity in scenes of
intellectual life on Late Roman sarcophagi”, 190-213 in Richard Miles ed.
Constructing Identities in Late Antiquity. London: Routledge. [ANCIENT
HISTORY M 72 MIL]
▲Hansen, Inge. 2008. “Muses as models: learning and complicity in authority”, in I.
Hansen and S. Bell eds. Role Models in the Roman World: Identity and
Assimilation. Ann Arbor. 273-85 [Online]
▲Zanker, Paul. 1995. The Mask of Socrates: the Image of the Intellectual in
Antiquity. Berkeley: University of California Press. Chapter 6, pp. “The cult
of learning transfigured”, esp. 267-289
Other themes in BM Sarcophagi
G341 MM.Ro. Course Handbook 2016
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Walker, Susan. 1990. Catalogue of Roman Sarcophagi in the British Museum.
London: British Museum. Endymion/Jonah: 43 (Ariadne recarved), 76
(Jonah); Portraits: 1, 35; Marriage: 4, 5; Bacchic themes: 18*, 19-21
fragmentary.
Reading mythological sarcophagi – general and supplementary bibliography
Borg, Barbara E. 2015. “Rhetoric and art in third century AD Rome”, 235-55 in J.
Elsner and M. Meyer eds. Art and Rhetoric in Roman Culture. Cambridge.
[Online]
Ewald, B.C. 2004. “Men, muscle and myth: Attic sarcophagi in the context of the
second sophistic”, in B. Borg ed, Paideia: the World of the Second Sophistic.
Berlin: de Gruyter.
*Gessert, G. 200 4. “Myth as consolatio, Medea on Roman sarcophagi” G&R 217249
Grassinger, D. “The Meaning of Myth on Roman Sarcophagi”, in H. Goldfarb (ed.),
Myth and Allusion: Meanings and Uses of Myth in Ancient Greek and Roman
Society (Boston, 1994), 91-107
Koortbojian, M. 1995. Myth, Meaning and Memory on Roman Sarcophagi. Pp. 1-18
"Introduction", 23-48 "Adonis tale", 114-126 "Myth, meaning and memory",
127-142 "The recognition of correspondences"
Newby, Zahra. 2011. “Myth and death. Roman mythological sarcophagi”, in K.
Dowden and N. Liningstone eds. A Companion to Greek Mythology. Oxford:
Blackwell. 302-318. [Online]
Ward-Perkins, J. B. 1975/6 "Workshops and Clients: the Dionysiac Sarcophagi in
Baltimore." Rendiconti Atti della Pontificia Academia Romana di Archeologia
48, 191-238
Manufacturing and merchandising sarcophagi:
*Birk, Stine. 2012. “Carving sarcophagi: Roman sculptural workshops and their
organisation”, 12-37 in Kristensen, T.M. and B. Poulsen. Eds. 2012. Ateliers
and Artisans in Roman Art and Archaeology. JRA Supplementary Volume 92.
[YATES QUARTOS A6 KRI]
Fant, J. Clayton. 1985. “Four unfinished sarcophagus lids at Docimium and the
Roman imperial quarry system in Phrygia”, American Journal of Archaeology
89.4: 655-662. [Online]
Immerzeel, M. 2003. “A day at the sarcophagus workshop”, Visual Resources 19.1:
43-55 [Online]
*Ward-Perkins, J. B. 1975/6 "Workshops and Clients: the Dionysiac Sarcophagi in
Baltimore." Rendiconti Atti della Pontificia Academia Romana di Archeologia
48, 191-238. [ICS – Periodicals; also Warburg]
Contexts/Funerary practices
Brink, Laurie and Green, Deborah eds. 2008. Commemorating the Dead: Texts and
Artefacts in Context. Berlin: de Gruyter. [YATES M127 BRI] nb esp. Tomb
as House essay – Wallace Hadrill; essays on catacombs; Dining with the Dead
Morris, I. 1992. Death Ritual and Social Structure in Classical Antiquity. Pp. 1-30
"The anthropology of a dead world", 31-69 " 'Mos Romanus': cremation and
inhumation in the Roman empire
G341 MM.Ro. Course Handbook 2016
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Müller, Frank G.J.M. 1994. The So-called Peleus and Thetis Sarcophagus in the Villa
Albani. Amsterdam. NB Appendix 4: excellent material for contextualising
sarcophagi (funerary ritual, consolation etc)
Tonybee, J.M.C. 1971. Death and Burial in the Roman World. London: Thames and
Hudson
Sarcophagi – supplementary bibliography - miscellaneous:
*Elsner, Jas and Janet Huskinson eds. 2011. Life, Death and Representation. Some
New Work on Roman Sarcophagi. Berlin: de Gruyter. [YATES M127 ELS]
{nb esp. excellent introduction by Elsner}
Elsner, Jas and Wu Hung eds. 2012. Sarcophagi. Special issue (61/2 Spring/Autumn)
of Res: Anthropology and Aesthetics. Comparing (juxtaposing) Roman and
Chinese sarcophagi. [Online]
*Ewald, B. 2003. “Sarcophagi and senators: the social history of Roman funerary art
and its limits”, Journal of Roman Archaeology 16: 561-571
Lehmann-Hartleben, K. and E. Olsen. 1942. Dionysiac Sarcophagi in Baltimore.
McCann, A.M. 1978. The Metropolitan Museum of Art: Roman Sarcophagi. New
York.
Zanker, P. and B.C. Ewald. 2012. Living with Myths: the Imagery of Roman
Sarcophagi. Oxford. (rev. C. Hallett, Art Bulletin 87: 157-60)
Essay topic:
“What special problems and opportunities characterise the study of pictorial
sarcophagi as a category of Roman art production?”
“How did the factors (social, technical, cultural) which informed the design of
sarcophagi shape their ‘agency’ as funerary monuments in their primary
viewing contexts?”
G341 MM.Ro. Course Handbook 2016
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8. ROMAN AND NATIVE IN THE ART OF ROMAN BRITAIN
Topic outline:
The character of the art of Roman Britain has long been contested, between classicists
like Collingwood deploring to archaeologists like Martin Henig celebrating the fusion
of Roman and Celtic traditions as the origins of a specifically British art.
‘Romanization’ perspectives have traditionally focussed on the progressive
assimilation of provincial art to artistic Roman models, and interpreted deviance from
such models as an indication of ‘resistance’. More recent work has sought to go
beyond these variably dichotomous approaches, trying to explore the varying
character and developmental trajectories of specific genres or material traditions of
art, or at the art production associated with specific categories of actor (such as the
Roman military, villa owners etc).We will explore these issues in relationship to a
number of categories of material well represented in the collections of the British
Museum: Roman-British silverware, funerary stelai, religious art.
Key objects: Romano-British funerary stelai; Romano-British religious art
(Uley Sanctuary); Celtic identities in Romano-British art; Romano-British Mosaics;
Romano-British Silver (Risley Park Lanx; Thetford Treasures)
Required
1. Woolf, G. 1995. ‘Beyond Romans and Natives’, World Archaeology 28, 339–
50.[Online]
2. Makintosh, M. 1974. 1986. “The sources of the horseman and the fallen enemy
motif on the tombstones of the Western empire”, Journal of the British
Archaeological Association CXXXIX, 1-21[Online]
3. Henig, M. 1985, “Graceo-Roman art and the Romano-British imagination”,
Journal of the British Archaeological Association 138: 1-22 [Online]
4. Johns, C. 2003. "Art, Romanisation and competence" in Scott, S. and Webster, J.
eds. Roman Imperialism and Provincial Art. Cambridge. 9-23 [YATES A 40
SCO ‒ will be xeroxed for Teaching Collection]
5. Stewart, Peter. 2010. “Geographies of provincialism in Roman sculpture”, RIHA
Journal 0005 (27 July 2010). [Online]
6. Hunter, Fraser. 2015. “The impact of Rome, AD 50-250”, 129-151 in J. Farley and
F. Hunter eds. Celts: Art and Identity. London: British Museum Press.
[INSTARCH DA 161 FAR – will be placed in Issue Desk]
Romano-British Funerary stelai and the Roman Military – student presentation
▲Hope, V.M. 1997. “Words and pictures: the interpretation of Romano British
Tombstones”. Britannia 28: 245-58. [Online]
▲Smith, D. 'A Palmyrene sculptor at South Shields?', Arch. Ael.4 xxxvii (I959),
203-11. [IoA Peruodicals – in store but I will have get xerox]
Phillips, J. 1976. “A workshop of Roman sculptors at Carlisle”. Brittannia 7: 101-8
Phillips, E.J. 1975. The gravestone of M. Favonius Facilis at Colchester. Britannia 6,
102-5.
▲Mackintosh, M. 1986. "The sources of the Horseman and Fallen Enemy motif on the
tombstones of the Western Roman empire", Journal of the British Archaeological
Association cxxxix, 1-21
▲Stewart, P. 2009. “Totenmahl reliefs in the northern provinces: a case study in
imperial sculpture”, Journal of Roman Archaeology 22, 253-74. [Online]
G341 MM.Ro. Course Handbook 2016
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Roman—British Sculpture – supplementary bibliography
Hope, Valerie. 2001. Constructing Identity. The Roman Funerary Monuments of
Aquileia, Mainz and Nimes. Oxford. 2001.
CSI Volumes
Romano-British art and Celtic identities?- Student presentation
Key objects:
Ilam Pan and Rudge Cup, Room 49 Case 9. (May also want to look at the
Dragonesque broaches, if they have come back from Celtic Art exhibition –
Room 50, Case 30.
[Bronze trulla handle, signed Bodvogenus: (Henig p. 130; Toynbee Art in Britain
under the Romans 320, pl. 77; Potter and Johns 1992, Roman Britain p, 132)]
▲Hunter, F. 2008. ‘Celtic Art in Roman Britain’. In D. Garrow, D. C. Gosden, and J.
D. Hill (eds.), Rethinking Celtic Art. Oxford: Oxbow Books, 129–45 [INST
ARCH DAA 161 GAR]
▲Hunter, Fraser. 2015. “The impact of Rome, AD 50-250”, 129-151 in J. Farley and
F. Hunter eds. Celts: Art and Identity. London: British Museum Press.
[INSTARCH DA 161 FAR – will be placed in Issue Desk]
▲Breeze, David J. ed. 2012. The First Souvenirs: Enamelled Vessels from Hadrian’s
Wall. Kendal: Cumberland and Westmoreland Archaeological Society. Esp.
Ch. 2, Ernst Kunzl “Enamelled vessels of Roman Britain, Ch. 3, L. AllasonJones, “The Rudge cup”, Ch. 5. Ralph Jackson “The Ilam Pan”. [Nb excellent
bibl on Roman enamels] [Oddly sent straight to storage without Call Code: will
have placed on Issue Desk]
Spratling, Mansel. 2008. “On the aesthetics of the ancient Britons” 185-202 in D.
Garrow, D. C. Gosden, and J. D. Hill (eds.), Rethinking Celtic Art. Oxford:
Oxbow Books. [INST ARCH DAA 161 GAR]
Lindgren, C. 1980. Classical Art Forms and Celtic Mutations. Figural Art in Roman
Britain. Park Ridge, NJ. [INST ARCH DAA 170 LIN]
Bulmer, W. “Dragonesque broaches and their development”, Antiquaries Journal 18:
146-53.
Feachem on Dragonesque fibulae Antiquaries Journal 1951, 1968.
[Roman Art in Britain before the Romans- Room 50, Case 23: Aylesford Bicket
Burial, Welwyn Hertfordshire – Silver Drinking cups]
Romano-British Religious art: Finds from Uley – JJT
Key objects: Ashwell Hoard (PY2003,0901.1-27) Room 49, Case 19; Finds from the
Uley Sanctuaries
[Kamash, Z., Gosden, C., and Lock, G. 2010. ‘Continuity and Religious Practices in
Roman Britain: The Case of the Rural Religious Complex at
Marcham/Frilford’, Britannia 41, 95–125]
▲Woodward, A., and Leach, P. 1993: The Uley Shrines: Excavations of a Ritual
Complex on West Hill, Uley, Gloucestershire: 1977–9, English Heritage
Archaeological Report 17, London. Ch. 6, pp. 89-112 “Votive objects: images
G341 MM.Ro. Course Handbook 2016
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and inscriptions”, by Martin Heni; 320-318, in the “Synthesis” chapter on
history of the temple. [IoA DAA 410 Qto WOO]
Aldhouse-Green, M. 2003. “Alternative iconographies: metaphors of resistance in
Romano-British cult imagery”, 39-48 in in Noelke, P. ed. Romanisation und
Resistenz in Plastik, Architektur und Inschriften der Provinzen des Imperium
Romanum. Mainz. [Instute of Classical Studies X 128 CON – Reference Only]
Green, Miranda J. 1998. “God in Man's Image: Thoughts on the Genesis and
Affiliations of Some Romano-British Cult-Imagery”, Britannia: 17-30
[Online; alas no illustrations!]
Bibl on syncretism, Webster etc?
Romano-British Mosaics
Key objects: 1. Mosaic of a sea-god, 4th century, Withington, Glouc. (P&E
1812,0613.1); 2. *Hemsworth Venus Mosaic, Dorset, 4th century (PRB
1908.12-15.1). [3. Thruxton Bacchus Mosaic, Hampshire, 4th century (PRB
1899.6-14)]. All in Room 49. Compre with N. African Mosaic in West
Stairway: Month and Seasons Pavement, Carthage, AD 375 (BM Cat.Mosaics:
MLA 1857.12-18.126/127/128/130/131/132/133/134/135/136/137/143)
Barrett, A.A. 1978. "Knowledge of the literary classics in Roman Britain", Britannia ix,
307-13
Beeson, A.J. 1990. "Perseus and Andromeda as lovers. A mosaic panel from Brading and
its origins", Mosaic 17, 13-19.
Cookson, N.A. 1984. Romano-British Mosaics. A Reassesment and Critique of Some
Notable Stylistic Affinities. British Archaeological Reports, Brit. Ser. 135.
Johnson, P. 1984. "The mosaics of Bignor villa, England: a Gallo-Roman connection",
pp. 405-10 in R. Farioli Campanati, III colloquio internazionale sul mosaico
antico, Ravenna
Dunbabin, K. 1978. The Mosaics of Roman North Africa. Esp. pp. 1-37, 196ff
_____. 1999. Mosaics of the Greek and Roman World. Cambridge. 88-100 “Britain”
(with Bibl), 101-129 “The North African Provinces’
Smith, D. 1969. "The mosaic pavements", pp. 71-125 in A. Rivet ed. The Roman Villa in
Britain.
Smith, D.J. 1983. "Mosaics", pp. 116-138 in Henig ed. Handbook of Roman Art.
Neal, D.S. 1981. Roman Mosaics in Britain.
Romano-British Silver
Key objects: Risley Park Lanx [Not on display 2016; JJT to bring picture]; Thetford
Treasure; Capheaton Treasure (Room 49 Case 11)
Johns, C, and Potter T. 1984. The Thetford Treasure. London: British Museum Press.
[INST ARCH DAA 410 N.5 JOH] cf. Henig on the swan spoons
Johns, C. 1981. “The Risley Park silver lanx: a lost antiquity from Roman Britain”,
Antiquaries Journal lxi: 53-72 {nb Henig refs for comps with Pewter
traditions}
Johns, C. 2010. The Hoxne Late Roman Treasure. London: British Museum Press. [
ARCH DAA 410 Qto JOH]
G341 MM.Ro. Course Handbook 2016
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Provincial art and archaeology: general bibliography
Aldhouse-Green, Miranda. 2004. An Archaeology of Images: Iconology and
Cosmology in Iron Age and Roman Europe. London and New York
Kampen, Natalie. 2006. “The art of soldiers on a Roman frontier: style and the
Antonine wall”, in Eve D’Ambra and Guy Metraux eds. The Art of Citizens:
Soldiers and Freedmen in the Roman World. Oxford. 125-134
Revell, L. 1999. ‘Constructing Romanitas: Roman Public Architecture and the
Archaeology of Practice’. In P. Baker, C. Forcey, S. Jundi, and R. Witcher
(eds.), TRAC 98 Proceedings of the Eighth Annual Theoretical Archaeology
Conference, Leicester 1998. Oxford: Oxbow Books, 52–8
—— 2009. Roman Imperialism and Local Identities. Cambridge: Cambridge
University Press.
Scott, S. 2014. “Britain in the classical world. Samuel Lysons and the art of Roman
Britain 1780-1820”, Classical Receptions Journal 6: 294-337
Stewart chapter on provincial statuary in book on Statues and Society
[Painting]
Architecture
Clarke, S. 1999a. ‘Architecture and Social Change during the Roman Period’. In
Leslie, A. (ed.), Theoretical Roman Archaeology and Architecture: The Third
Conference Proceedings. Glasgow: Cruithne Press, 111–21.
—— 1999b. ‘Contact, Architectural Symbolism and the Negotiation of Cultural
Identity in the Military Zone’. In P. Baker, C. Forcey, S. Jundi, (p.346) and R.
Witcher (eds.), TRAC98 Proceedings of the Eighth Annual Theoretical
Archaeology Conference 1998. Oxford: Oxbow Books, 36–4
Concepts
Kaufmann, Thomas DaCosta. 2004. Towards a Geography of Art. London and
Chicago
Hannerz, U. 1992. "The global ecumene", pp. 217-267 in Cultural Complexity:
Studies in the Social Organisation of Meaning. (for an interesting account of
core-periphery relations in contemporary world - principles of analysis, at
least, applicable to Roman empire).
Freeman, P. 1993. ‘“Romanisation” and Roman Material Culture’, Journal of Roman
Archaeology 6: 438–45.
Supplementary
Blagg in Todd Research on Roman Britain [INST ARCH DAA 170 Qto TOD]
Braithwaite, G. 1984. Romano British face pots and head pots. Britannia 15, 99-131
Cool, H.E.M. 1986. A Romano British gold workshop of the 2nd century. Britannia
17, 231-7
Green, Miranda. 1998. “God in man’s image. Thoughts on the genesis and affiliations
of some Romano-British cult imagery”, Britannia 29: 17-30 [No images!]
Henig, M. 2000. “Art in Roman London”, in I. Haynes, H. Sheldon and L. Hannigan
eds. London Underground: the Archaeology of a City. (Oxford: Oxbow
Books) 62-84
Merrifield, R. date??. “Art and religion in Roman London: an inquest on the
sculptures of Londinium”, in J. Munby and M. Henig eds. Roman Life and Art
G341 MM.Ro. Course Handbook 2016
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in Britain: A Celebration in Honour of the Eightieth Birthday of Jocelyn
Toynbee vol 2 (Oxford: British Archaeological Reports) 375-406
Johns, C. 2003. "Romano-British Sculpture: Intention and Execution", in Noelke, P.
ed. 'Romanisation und Resistenz in Plastik, Architektur und Inschriften der
Provinzen des Imperium Romanum. Mainz. 27-38
Johns, C. 1995. ‘Romano-British Precious Metalwork Hoards: Some Comments on
Martin Millett’s Paper’. In S. Cottam, D. Dungworth, S. Scott, and J. Taylor
(eds.), TRAC 94: Proceedings of the Fourth Annual Theoretical Roman
Archaeology Conference 1994. Oxford: Oxbow Books, 107–18
—— and Potter, T. 1983. The Thetford Treasure: Roman Jewellery and Silver.
London: British Museum.
Mattingly, David. 2003. “Family values: art and power at Ghirza in the Libyan predesert”, in S. Scott and J. Webster eds. Roman Imperialism and Provincial
Art. Cambridge. 153-70. [YATES A 40 SCO]
Munby Roman Art and Life in Britain INST ARCH DAA Series Qto BRI 41
Essay topic:
How far does the provincial location of Britain explain the character of the art of
Roman Britain? Discuss with reference to at least two media (e.g. sculpture,
painting, mosaic, silver, jewellery/minor arts)?
G341 MM.Ro. Course Handbook 2016
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9. TRANSFORMATION – LATE ANTIQUE AND EARLY CHRISTIAN ARTS
Topic Outline:
Changes in the character of later Roman art, in the fourth and fifth centuries, were
long discussed in terms of the concept of decline, largely as a function of Vasari’s
infamous denunciation of the sculptures of the Arch of Constantine. More recently
“transformation” has been the preferred term to describe changes in the late antique
world. But what exactly is the nature of that transformation: can we identify a ‘late
antique aesthetic’, and if so what are its social and cultural coordinates? What role is
played by new forms of political organisation, and new modes of social relationship in
an increasingly hierarchical and bureaucratic society? How important is the role of
new forms of religion and spirituality, notably the rise of Christianity, in informing
artistic transformations? What role is played by changes in artistic techniques and
technologies? We will discuss these issues in relationship to the rich collections of the
British Museum in the ‘minor arts’ of late antiquity: silver, ivory carving, and goldglass.
Required readings:
1. Elsner, J. 2004. “Late antique art: the problem of the concept and the cumulative
aesthetic”, 271-309 in S. Swain and M. Edwards eds. Approaching Late
Antiquity. Oxford. [Online]
2. Harley, Felicity. 2009. “Christianity and the transformation of late Antique art”,
307-326 in P. Rousseau ed. Companion to Late Antiquity. Chichester: WileyBlackwell. [Online]
3. Elsner, J. 2008. “Framing the objects we study: three boxes from late Roman Italy”,
Journal of the Warburg and Courtauld Institutes 71: 21-38 [Online]
4. Cutler, A. 1984. “Five lessons in late Roman ivory”, Journal of Roman
Archaeology 6: 167-92. [Online]
5. Cameron, Alan. 1996. “Orfitus and Constantius: a note on Roman gold glasses”,
Journal of Roman Archaeology 9. 295-301. [Online]
6. Cameron, Alan. 1992. "Observations on the distribution and ownership of late Roman
silver plate", Journal of Roman Archaeology 5, 178-85 [Online]
Late antique gold-glass: student presentation
Key objects: Room 41, Case 8: Several examples, use a couple to focus discussion.
Nb if the Orfitus Medallion is still not on display, I will bring picture.
(1881.0624.1; 1898,07.19.1-2; 1863,0727.5-6)
▲Cameron, Alan. 1996. “Orfitus and Constantius: a note on Roman gold glasses”,
Journal of Roman Archaeology 9. 295-301. [Online]
▲Buckton, David. Ed. 1994. Byzantium: Treasures of Byzantine Art and Culture.
London: British Museum Press. Pp. 31-3.
▲Howells, D.T. 2015. A Catalogue of the Late Antique Gold Glass in the British
Museum. London: British Museum Press.* Chapter 1 “An overview of gold
glass scholarship”, Chapter 3 (22-40) “Material considerations” (don’t get
bogged down in the science); Chapter 4 “The manufacture of gold glass: past
attempts and new experimental reproductions”; *Chapter 5: Some practical
G341 MM.Ro. Course Handbook 2016
39
considerations: distribution and context, workshop identity and date, function
and costs”. Catalogue for the specific examples on display; **nb esp. the Saint
Severine Bowl pp. 90-100. [INSTARCH DAA 180 Qto SPE].
De Santis, P. 2000. “Glass vessels as grave goods and grave ornaments in the
catacombs of Rome”, 238-43 in J. Pearce, M. Millett and M. Struck eds.
Burial, Society and Context in the Roman World. Oxbow: Oxford. [INST ARCH
DA Qto PEA]
Entwhistle C. and James, L eds. New Light on Old Glass: Recent Research on
Byzantine Mosaics and Glass, 2013, British Museum Research Publication
No. 179, British Museum Press Chapters: 13. "Making Late Antique Gold
Glass", (Daniel Thomas Howells'); 14. "Gold Glass in Late Antiquity",
(Andrew Meek). [INST ARCH KL Qto ENT]
Morey, Charles Rufus. 1959. The Gold Glass Collection of the Vatican Library; with
additional Catalogues of other Gold Glass Collections. Edited Guy Ferrrari.
Vatican City.
Late Roman Ivory Carving
Ivory Diptychs
Key objects: Apotheosis Diptych = Rome 1857.1013;
St Clair, A. 1964. "The apotheosis diptych", The Art Bulletin 64, 205-11
Buckton, David. Ed. 1994. Byzantium: Treasures of Byzantine Art and Culture.
London: British Museum Press. Pp. 57-8 (Apotheosis diptych)
Weitzmann, K. ed.,1979. Age of Spirituality: Late Antique and Early Christian Art,
3rd to 7th Century. New York: Metropolitan Museum. [Available online from
Metropolitan Museum of Art, New York.] No 60 (Apotheosis Diptych).
Ivory Caskets: Student Presentation
Key objects: Maskell Passion Cycle: Rome 1856.0623.4-7
▲Buckton, D. 1994. Byzantium etc (as above 5.2) nos. 44-5, pp. 57-9 (with
supplementary bibliography)
Weitzmann, K. ed.,1979. Age of Spirituality: Late Antique and Early Christian Art,
3rd to 7th Century. New York: Metropolitan Museum. No. [Available online
from Metropolitan Museum of Art, New York.]
▲Spier, J. 2007. Picturing the Bible. Pp. 229-232 (Maskell Ivories – Passion Cycle)
(ART BC10 SPI)
▲Harley-McGowan, Felicity. 2013. “The Maskell Passion ivories and Greco-Roman
art: notes on the iconography of cruxifixion”, 13-33 in Juliet Mullins et al eds.
Envisioning Christ on the Cross: Ireland and the Early Medieval West. Four
Courts Press. [Book on order; PDF available on Harley-McGowan’s
AcademiaEdu page or ask JJT]
G341 MM.Ro. Course Handbook 2016
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Kötzsche, L. 1994. "Die trauernden Frauen. Zum Londoner Passionskästchen", pp. 80-90
in D. Buckton and T.A. Heslop eds. Studies in Medieval Art and Architecture
presented to Peter Lasko.
Ivories – general bibliography:
Buckton, D. ed. 1994. Byzantium: Treasures of Byzantine Art and Culture. pp. 57-9, 7165
Bloch, H. 1963 "The Pagan revival in the West at the end of the 4th century." in A.
Momigliano ed. Pagans and Christians in the Fourth Century. (MAIN TC 957)
Shelton, K. 1989. "Roman aristocrats, Christian commissions: the Carrand diptych", pp.
105-27 in F.M. Clover and R.S. Humphreys eds. Tradition and Innovation in Late
Antiquity.
Watson, C.J. 1981. "The programme of the Brescia casket", Gesta 20, 283-98
Natanson, J. 1953. Early Christian Ivories.
Gibson, M. 1994. The Liverpool Ivories.
Cameron, A. 1982. "A note on ivory carving in fourth century Constantinople", American
Journal of Archaeology 86, 126-9
Netzer, N. 1983. "Redating the consular ivory of Orestes", Burlington Magazine 125,
265-71
Cutler, A. 1984. "The making of the Justinian diptychs", Byzantion 54, 75-115
_____. 1993. "Five lessons in late Roman ivory", Journal of Roman Archaeology 6, 16792
Milburn, R. 1988. Early Christian Art. Pp. 234-250 "Carved ivories"
Williamson, Paul. 2009. Medieval Ivory Carving, Early Christian to Romanesque.
Victoria and Albert Museum.
Late Roman Silver
The Esquiline Treasure and the Projecta Casket: Student Presentation
Location: Room 41, Case 7. NB for presentation focus on Projecta Casket
▲Elsner, J. 1995. Art and the Roman Viewer. Pp. 249-61 (best starting point)
Buckton, D. 1994. Byzantium: Treasures of Byzantine Art and Culture. Catalogue
nos. 10-14, pp. 33-37
▲Elsner, J. 2003. “Visualising women in late antique Rome: the Projecta Casket”,
Chapter 4 in C. Entwistle ed. Through a Glass Brightly: Studies in Byzantine
and Medieval Art and Archaeology Presented to David Buckton. Oxford:
Oxbow.[INST ARCH DA 300 ENT; also as PDF on Elsner s Academia Edu Page]
▲Shelton, K. 1981. The Esquiline Treasure. London; Britsh Museum Press. [INST
ARCH DAF 10 SHE ‒ will be made Reference Only]
Cameron, A. 1985. "The date and owners of the Esquiline treasure", American Journal of
Archaeology 89, 135-45
Shelton, K.J. 1985. "The Esquiline treasure: the nature of the evidence", American
Journal of Archaeology 89, 147-55
Mildenhall Treasure:
Tonybee, J.M.C. and K.S. Painter. 1986. "Silver picture plates of late antiquity, AD 300700", Archaeologia 108, 15-65
Painter, K.S. 1977. The Mildenhall Treasure. London. [IoA Issue Desk: PAI]
G341 MM.Ro. Course Handbook 2016
41
Hobbs, Richard. 2012. The Mildenhall Treasure. London.
Hobbs, R. 2010. “Platters in the Mildenhall Treasure”, Britannia 41 (2010), pp. 2433
Hobbs, R. 2008. 'The secret history of the Mildenhall Treasure', The Antiquaries
Journal 88 (2008), pp. 376-420.
Hobbs, R. 1997. ‘The Mildenhall Treasure: Roald Dahl’s ultimate tale of the
unexpected?’ Antiquity, 71 (no. 271), March (1997), pp. 63-73
Schneider, Lambert. Doman als Weltbild
Miscellaneous on Late Roman Silver:
Johns, C. 1990. "Research on Roman silver plate", Journal of Roman Archaeology 3, 2843
Brendel, O. 1941. "The Corbridge lanx", Journal of Roman Studies 31, 100-127
Cahn, H.A., A. Kaufmann-Heinimann and K. Painter, 1991. "A table-ronde on a treasure
of late Roman silver", Journal of Roman Archaeology 4, 184-91
Van Grunsven-Eygenraam, M. 1973. "Heraclius and the David plates", Bulletin Antieke
Beschaving 48, 158-74
Tonybee, J.M.C. and K.S. Painter. 1986. "Silver picture plates of late antiquity, AD 300700", Archaeologia 108, 15-65
Johns, C. 1981. "The Risley-Park silver lanx: a lost antiquity from Roman Britain",
Antiquaries Journal lxi, 53-72
Painter, K. 1993. "Late Roman silver plate: a reply to Alan Cameron", Journal of Roman
Archaeology 6, 109-115.
Leader-Newby, Ruth. 2004. Silver and Society in Late Antiquity: Functions and
Meanings of Silver Plate in the Fourth to Seventh Centuries. Ashgate. [YATES T 50
LEA]
General on Late Antiquiry and Late Antique Art:
Elsner, J. 2002. “The Birth of Late Antiquity: Riegl and Strzygowski in 1901”, Art
History
_____. 2003. “Archaeologies and agendas: reflections on late antique Jewish art and
early Christian art”, Journal of Roman Studies 93: 114-24
Cutler, A. 1997. “The Right Hand's Cunning: Craftsmanship and the Demand for Art
in Late Antiquity and the Early Middle Ages”, Speculum, Vol. 72, No. 4: 971994
James, Edward. 2008. “The rise and function of the concept ‘Late Antiquity’”,
Journal of Late Antiquity 1.1: 20-30.
Pitarakis, Brigitte. 2006. “Objects of desire and protection”, in Derek Krueger ed.
Byzantine Christianity: a People’s History of Christianity vol 3. Minneapolis,
Fortress. (on amulets, personal objects etc)
Wickham, C. 1984. “That other transition, from anitquity to feudalism. Past and
Present. 103: 3-36
Essays:
Either: Can we identify a ‘late antique aesthetic’ and if so what are its social and
cultural coordinates? Discuss with primary reference to at least two traditions
in the minor arts (silver, ivory, gold glass).
G341 MM.Ro. Course Handbook 2016
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Or: How far does the early Christian art/visual culture represent a distinctive tradition
within the art of late antiquity to the end of the fourth century AD? ? Discuss
with primary reference to at least two traditions in the minor arts (silver, ivory,
gold glass).
G341 MM.Ro. Course Handbook 2016
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10. CLASSICAL ART AND GLOBAL ANTIQUITIES: ROMAN ART IN
‘ORIENTAL’ WORLDS
Topic outline:
Traditionally the history of ‘Roman’ art has been firmly bounded by the limits
of the empire. Just as the nineteenth century national model of ‘Roman’ art has been
criticised in relation to the early history of the formation of Roman art, recent research
has sought to look at Roman art through the lense of modern processes of
globalisation, and associated ‘globalisation’ theory. The reach of Greco-Roman art
stretched far beyond the Roman Empire, and interactions between Rome, ancient
Persia, early Islamic societies, ancieny india and early medieval China played a role
in defining those artistic traditions, and also their art reached into and in varying
degrees affected later Roman art. The final class of the course explores Roman art
beyond the frontiers of the empire, exploring the varying kinds of agency exercised by
Roman art objects, styles and iconographies in the ancient Orient, from early Islam to
Medieval China.
Required reading:
1. Canepa, Matthew. 2010. “Theorising cross-cultural interaction among ancient and
early medieval visual cultures”, Ars Orientalis 38: 7-29. [Online]
2. _____. 2010. “Distant displays of power: Understanding Cross-Cultural Interaction
Among the Elites of Rome, Sasanian Iran, and Sui-Tang China”, Ars
Orientalis 38: 121-54 [Online]
3. Mackintosh, M.C. 1973. ‘Roman Influences on the Victory Reliefs of Shapur I of
Persia’, California Studies in Classical Antiquity 6: 181–203. [Online]
4. Galli, M. 2011. “Hellenistic Court Imagery in the Early Buddhist Art of Gandhara”,
Ancient civilizations from Scythia to Siberia 17.2: 279-329 [Online]
5. Laing, E.J. 1995. “Recent Finds of Western-Related Glassware, Textiles, and
Metalwork in Central Asia and China” Bulletin of the Asia Institute, New
Series, Vol. 9: 1-18 {nb see Watt China: Dawn of a Golden Age for colour
illustrations of many of these objects}. [Online, but you will need to login
through UCL. Go to journal page via Explore, then login as UCL, then search
within the Jstor page for the article]
6. Zuchowska, M. 2013. “From China to Palymyra: the value of silk”, Swiatowit XI
(LII), 133-154 . (PDf Available from her Academia Edu page or ask JJT).
7. [Something on early Islam art and classtrad?]
Sassanian Art and Roman Art:
Sassanian Art and Roman Art: Presentation - JJT
Location: Room 52
Case 6: Silver plate showing Dionysos, 2nd/3rdC, Afghanistan (124086).
Case 7: Silver plate showing Shapur I killing deer, 4thC (124091); Silver plate with
Investiture scene (124093); Sassanian silver plate with depiction of lion hunt
((124092); gilded silver vase with grape harvesting scene (ME 124094)
G341 MM.Ro. Course Handbook 2016
44
Masia-Radford, Kate. 2013. “Luxury vessels of the Sasanian period”, in Daniel T.
Potts ed. The Oxford Handbook of Ancient Iran 920-938. [Online]
Cutler – article in Image Making in Byzantium [INSTARCH DA 180 CUT]
Gandharan Art: Greco-Roman Tradition and Rise of Buddhist Art in India
Gandharan Art – General Bibliograhy
Soper, A. "The Roman Style in Gandhara," Amercan Journal of Archaeology 55
(1951) 301-319;
Rowland, B. "Rome and Gandhara," East and West 9 (1958) 199-208;
Rowland, B. 1956. “Gandhara, Rome, and Mathura: the Early Relief Style”. Archives
of the Chinese Art Society of America 10, 6-17.
Rowland, B. 1942. “Gandhara and Late Antique art: the Buddha Image”, American
Journal of Archaeology 46: 223-36
Goetz, H. 1959: Imperial Rome and the Genesis of Classical Indian Art. East & West
10, 153- 182, 261-268.
Aldrovandi, Cibele and Hirata, Elaine. 2005. “Buddhism, Pax Kushana and GrecoRoman motifs: pattern and purpose in Gandharan iconography” Antiquity
Volume 79, Issue 304: 306 – 315
Nehru, Lolita. 1989. Origins of the Gandharan Style. Oxford.
Bimaran and Kanishka Reliquaries Student presentation
Location: Room 33, Case 18: Bimaran Reliquary Casket (OA 1900.2-9.1); Kanishka
Casket (Copy: OA 1880-270)
▲Rowland, B. 1946. “Gandhara and early Christian art: the Homme Arcade and the
date of the Bamiran reliquary”, Art Bulletin 28.1: 44-47 [Online]
▲Errington, E. et al eds. 1992. The Crossroads of Asia: Transformation in Image and
Symbol. Cambridge: Ancient India and Iran Trust. Pp. 189-197 on the
reliqauies. [INST ARCH DBMA 11 CRO ‒ to Issue Desk]
▲Brancaccio, Pia and Liu Xinru. 2009.” Dionysus and Drama in the Buddhist art of
Gandhara”. Journal of Global History 4: 219-244 [Online]
Classicising themes and style in Gandharan sculpture: Student presentation
Location: Room 33
Case 4 (Early cities and kingdoms): Cosmetic palettes (1. Man riding sea-monster,
Asia 1898.10-27. 6. Artemis and Actaeon, Asia 1936.12-251).
Case16 (Gandharan art and classical inheritance): Trojan Horse (OA1990.10-13.1);
Triton (OA1914.5-23); Putti with garlands.
(Cf. also Cases 11 and 13, further Gandharan materials)
▲Errington, E. et al eds. 1992. The Crossroads of Asia: Transformation in Image and
Symbol. Cambridge: Ancient India and Iran Trust. Pp. 118-135: esp. no 128
“Triton”, 132 “Relief fragment with garland of putti”; 133 “Trojan horse”; pp.
152-157 “Palettes”, esp. nos 153, 154 (Artemis and Actaeon) [INST ARCH
DBMA 11 CRO ‒ to Issue Desk]
▲Galli, M. 2011. “Hellenistic Court Imagery in the Early Buddhist Art of Gandhara”,
Ancient civilizations from Scythia to Siberia 17.2: 279-329 [Online]
Islamic Art and the Roman Inheritance
G341 MM.Ro. Course Handbook 2016
45
Baer, Eva. 1999. “The human figure in early Islamic art: some preliminary remarks”,
Muqarnas 16: 32-41 [Online]
Fowden, Garth. 2004. “Late-antique art in Syria and its Umayyad evolutions”,
Journal of Roman Archaeology no: 283-304
Evans, H.C. and Ratliff, B. eds. 2012. Byzantium and Islam: Age of Transition, 7th-9th
Century. New York: Metropolitan Museum. [SSEES Gr.XX.3 BYZ] {Wonderful
catalogue from major exhibition at the Metropolitan Museum
Islamic Art and the Roman Inheritance –presentation - JJT
Objects: Room 34: Case 3: Early Islamic coin types and their Roman sources; Mosaic
Glass – Iraq, 9thC, 1973.6-23.1; Case 4: Wooden door pillar, 9th century, with
classical palmette ornament. [Case 44: Islamic coins copying Roman prototypes]
Roman art in China and Chinese Art in Rome
[Nothing really suitable in BM for presentation, that I have been able to did so far]
Baratte, Francois. 1996. “Dionysus en Chine: Remarques à propos de la coupe en
argent de Beitan”, Arts Asiatiques 51: 142-7
Barbieri-Low, Anthony. 2001. “Roman themes in a group of Eastern Han lacquer
vessels”, Orientations May 2001: 52-8
Bush, S. 1976. “Floral motifs and vine scrolls in Chinese art of the late fifth to early
sixth centuries AD”, Artibus Asiae 38.1: 40-83
Lee, In-sook. 2001. “Silk road trade and Roman glass from Korea”, Central Asian
Studies 5: 327-37. {find journal}
Pirazzoli-t'Serstevens, Michele.1994 "Pour une archeologie des echanges: Apports
etrangers en Chine—transmission, reception, assimilation," Arts Asiatiques 49
(1994), 21-33.
Watts, James. C Y. et al eds. China: Dawn of a Golden Age, 200-750 AD. New
Haven: Yale University Press. Esp.Cat nos 59 (Stem cup with figures and
grapevine), 62 (Plate with hunting scene, Sassanian), 90 (Beitan plate with
figure of Dionysus), 101 (Wall hanging with centaur and warrior), 116
(Roman diatret glass, Nanjing), 157 (Bactrian Ewer, emulating Greek model)
Zuchowska, M. 2013. “From China to Palymyra: the value of silk”, Swiatowit XI
(LII), 133-154 . (PDf Available from her Academia Edu page or ask JJT).
General:
Boardman, John. 1994. The Diffusion of Classical Art in Antiquity. London: Thames
and Hudson. Chapter 4 “The East after Alexander the Great”
Canepa, M.P. 2009. The Two Eyes of the Earth: Art and Ritual Kingship between
Rome and Sassanian Iran. Berkeley: University of California Press. ANCIENT
HISTORY F 18 CAN; also available as ebook online.
*Hay, Jonathan. 1999. "Toward a theory of the intercultural", Res: Anthropology and
Aesthetics 35: 2-9 [Online]
G341 MM.Ro. Course Handbook 2016
46
*Hannerz, U. 1992. "The global ecumene", pp. 217-267 in Cultural Complexity:
Studies in the Social Organisation of Meaning. (Esp. on social framworks and
mechanisms of cultural transfer)
Essay topic: How can we account for the extent and limitations of the reach of GrecoRoman art beyond the boundaries of the Roman empire? Discuss with reference
to/comparison of at least two regional traditions. {E.g. Persian/Sassanid, Chinese.
Indian/Gandharan, Islamic}
G341 MM.Ro. Course Handbook 2016
47
APPENDIX – IOA PROCEDURES
INSTITUTE OF ARCHAELOGY COURSEWORK PROCEDURES
General policies and procedures concerning courses and coursework, including submission procedures,
assessment criteria, and general resources, are available in your Degree Handbook and on the following
website: http://wiki.ucl.ac.uk/display/archadmin. It is essential that you read and comply with these.
Note that some of the policies and procedures will be different depending on your status (e.g.
undergraduate, postgraduate taught, affiliate, graduate diploma, intercollegiate, interdepartmental). If in
doubt, please consult your course co-ordinator.
GRANTING OF EXTENSIONS:
New UCL-wide regulations with regard to the granting of extensions for coursework
have been introduced with effect from the 2015-16 session. Full details will be circulated to
all students and will be made available on the IoA intranet. Note that Course Coordinators
are no longer permitted to grant extensions. All requests for extensions must be submitted on
a new UCL form, together with supporting documentation, via Judy Medrington’s office
and will then be referred on for consideration. Please be aware that the grounds that are now
acceptable are limited. Those with long-term difficulties should contact UCL Student
Disability Services to make special arrangements.