Richard Hattatt's collection of brooches ranges from the Iron Age to the Middle Ages, though most were Roman and Romano-British. Between 1982 and 1989 he wrote four books illustrating all the brooches, and in the fourth book he included a visual catalogue which provides a quick guide to the types and dates. it is this visual index - with drawings of all 2000 brooches - that is reproduced.

The result of forty years of study, this book offers an overview of the most common find, after coins, on sites in Roman Britain, the brooch. Used basically to hold outer clothing together, it was always on view and was usually decorative. Based on the study of some 15,000 specimens, the second volume illustrates some 2,000, all drawn by the author. The first chapter is a discussion of manufacturing techniques, methods of study and the concept of dating. The bulk of the book consists of nine chapters examining in detail the myriad style of brooches from the second century B.C., when the habit of wearing brooches really took off, to the early fifth century A.D. when newcomers brought their own types of brooch and imposed them on the rest of what was to become England. The final chapter is a synthesis of various strands mentioned in the body of the book and the social implications of the great change in brooch wearing which occurred in the third century.

This collection of studies is the result of a six-year interdisciplinary research project undertaken by an international team, and constitutes a completely new approach to environmental, cultural and settlement changes around the mid-first millennium AD in Central Europe.

The first study devoted to classical art’s vital creative impact on the work of the Flemish painter Peter Paul Rubens. For the great Peter Paul Rubens (1577–1640), the classical past afforded lifelong creative stimulus and the camaraderie of humanist friends. A formidable scholar, Rubens ingeniously transmitted the physical ideals of ancient sculptors, visualized the spectacle of imperial occasions, rendered the intricacies of mythological tales, and delineated the character of gods and heroes in his drawings, paintings, and designs for tapestries. His passion for antiquity profoundly informed every aspect of his art and life. Including 170 color illustrations, this volume addresses the creative impact of Rubens’s remarkable knowledge of the art and literature of antiquity through the consideration of key themes. The book’s lively interpretive essays explore the formal and thematic relationships between ancient sources and Baroque expressions: the significance of neo-Stoic philosophy, the compositional and iconographic inspiration provided by exquisite carved gems, Rubens’s study of Roman marble sculpture, and his inventive translation of ancient sources into new subjects made vivid by his dynamic painting style. This volume is published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Villa from November 10, 2021, to January 24, 2022.

An illustrated history of jewelry, exploring the varied styles, techniques and materials used to make jewelry throughout the world.

Cruciform brooches were large and decorative items of jewellery, frequently used to pin together women's garments in pre-Christian northwest Europe. Characterised by the strange bestial visages that project from the feet of these dress and cloak fasteners, cruciform brooches were especially common in eastern England during the 5th and 6th centuries AD. This book provides a multifaceted, holistic and contextual analysis of more than 2,000 Anglo-Saxon cruciform brooches. It offers a critical examination of identity in Early Medieval society, suggesting that the idea of being Anglian in post-Roman Britain was not a primordial, tribal identity transplanted from northern Germany, but was at least partly forged through the repeated, prevalent use of dress and material culture.