Laura Nasrallah argues that early Christian literature is best understood when read alongside the archaeological remains of Roman antiquity.

The early Christian period, especially the time between the third and sixth centuries, is one of the most fascinating in church history. The Christianity which developed into a state church in the Roman empire during the fourth century gave new content to traditional Graeco-Roman art and adapted it to changed needs. Different forms of churches, monasteries and baptisms came into being, as did Christian art in paintings, mosaics and sculptures; biblical manuscripts were illustrated and liturgical furnishings and vessels were given new form. Here for the first time in a single volume is an account of architecture sacred and profane, funerary art in catacombs and tombs and especially sarcophagi, the graphic arts and the various forms of art in miniature. The text is illustrated with numerous line drawings and photographs, including ground plans and elevations of churches, actual and conjectural, and there are full descriptions of the art and architecture discussed against its social and historical background. In addition there are full bibliographies and details of the most important collections of Christian art. This will prove not only an invaluable work for art historians but also a guide for those travelling in the Mediterranean area and an indication of the riches of the first centuries of the church. Guntram Koch is Professor of Christian Archaeology and the History of Byzantine Art in the University of Marburg.

Ancient Christians and their non-Christian contemporaries lived in a world of 'magic.' Sometimes, they used curses as ritual objects to seek justice from gods and other beings; sometimes, they argued against them. Curses, and the writings of those who polemicized against curses, reveal the complexity of ancient Mediterranean religions, in which materiality, poetics, song, incantation, and glossolalia were used as technologies of power. Laura Nasrallah's study reframes the field of religion, the study of the Roman imperial period, and the investigation of the New Testament and ancient Christianity. Her approach eschews disciplinary aesthetics that privilege the literature and archaeological remains of elites, and that defines curses as magical materials, separable from religious ritual. Moreover, Nasrallah's imaginative use of art and 'research creations' of contemporary Black painters, sculptors, and poets offer insights for understanding how ancient ritual materials embedded into art work intervene into the present moment and critique injustice.

A New York Times Notable Book, winner of the Jerwood Award from the Royal Society of Literature, a New York Times Book Review Editors’ Choice, and named a Book of the Year by the Telegraph, Spectator, Observer, and BBC History Magazine, this bold new history of the rise of Christianity shows how its radical followers helped to annihilate Greek and Roman civilizations. The Darkening Age is the largely unknown story of how a militant religion deliberately attacked and suppressed the teachings of the Classical world, ushering in centuries of unquestioning adherence to "one true faith." Despite the long-held notion that the early Christians were meek and mild, going to their martyrs' deaths singing hymns of love and praise, the truth, as Catherine Nixey reveals, is very different. Far from being meek and mild, they were violent, ruthless, and fundamentally intolerant. Unlike the polytheistic world, in which the addition of one new religion made no fundamental difference to the old ones, this new ideology stated not only that it was the way, the truth, and the light but that, by extension, every single other way was wrong and had to be destroyed. From the first century to the sixth, those who didn't fall into step with its beliefs were pursued in every possible way: social, legal, financial, and physical. Their altars were upturned and their temples demolished, their statues hacked to pieces, and their priests killed. It was an annihilation. Authoritative, vividly written, and utterly compelling, this is a remarkable debut from a brilliant young historian.

Enslaved persons were ubiquitous in the first- and second-century CE Roman Empire, and early Christian texts reflect this fact. Yet the implications of enslaved presence in religious practices are under-examined in early Christian and Roman history. Enslaved Leadership in Early Christianity argues that enslaved persons' roles in civic and religious activities were contested in many religious groups throughout ancient cities, including communities connected with Paul's legacy. This power struggle emerges as the book examines urban spaces, inscriptions, images, and literature from ancient Ephesos and its environs. Enslaved Leadership breaks new ground in analyzing archaeology and texts-asking how each attempts to persuade viewers, readers, and inhabitants of the city. Thus this book paints a complex picture of enslaved life in Asia Minor, a picture that illustrates how enslaved persons enacted roles of religious and civic significance that potentially upended social hierarchies privileging wealthy, slave-holding men. Enslaved persons were religious specialists, priests, and leaders in cultic groups, including early Christian groups. Yet even as the enslaved engaged in such authoritative roles, Roman slavery was not a benign institution nor were all early Christians kinder and more egalitarian to slaves. Both early Christian texts (such as Philemon,1 Timothy, Ignatius' letters) and the archaeological finds from Asia Minor defend, construct, and clarify the hierarchies that kept enslaved persons under the control of their masters. Enslaved Leadership illustrates a historical world in which control of slaves must continually be asserted. Yet this assertion of control raises a question: Why does enslaved subordination need to be so frequently re-established, particularly through violence, the threat of social death, and assertions of subordination?

This book collects essays by international scholars who engage with Roman-period architecture outside Rome and the Italian Peninsula, looking at the regions that formed part of the Roman Empire over a broad time frame: from the second century BCE to the third century CE. Moving beyond traditional views of ‘Roman provincial architecture’, the aim is to highlight the multi-faceted features of these architectures, their function, impact and significance within the local cultures, and the dynamic discourse between periphery and center. Architecture is intended in the broad sense of the term, encompassing the buildings’ technological components as well as their ornamental and epigraphic apparatuses. The geographic framework under examination is a broad one: along with well-documented areas of the ancient Mediterranean, attention is also paid to the territories of north-west Europe. The discussion throughout the volume focuses on three interrelated themes – models, agency, and reception. The broader scope of these essays is to give a reinvigorated impetus to the scholarly debate on the role and influence of ancient architectures beyond the center of Empire. The book has a strong interdisciplinary character, which reflects the authors’ diverse expertise in the fields of archaeology, architecture, ancient history, art and architectural history.

The general scope of the present volume is to present a variety of approaches and topics within the growing field of research on Byzantine aesthetics. Theurgy in Neoplatonic and Christian contexts is represented by the contributions of W.-M. Stock and L. Bergemann; theories of beauty are at the centre of interest of the papers by S. Mariev and M. Marchetto. A. Pizzone approaches Byzantine aesthetics by looking for aesthetic experience in the literary texts, while the remaining contributions explore issues related to the iconoclast controversy: An important moment in the development of Byzantine philosophy on the eve of iconoclasm is the primary interest of A. del Campo Echevarría, who looks at the question of universals in John of Damaskos. The relationship between image and text in Byzantine illustrated manuscripts occupies the attention of B. Crostini. D. Afinogenov explores from a philological perspective the fate of important iconophile terminology in Old Bulgarian, while L. Lukhovitskij reconstructs from historical and philological perspectives the historical memory of the iconoclast controversy during the Late Byzantine Period.

This study examines third- and fourth-century portraits of married Christians and associated images, reading them as visual rhetoric in early Christian conversations about marriage and celibacy, and recovering lay perspectives underrepresented or missing in literary sources. Historians of early Christianity have grown increasingly aware that written sources display an enthusiasm for asceticism and sexual renunciation that was far from representative of the lives of most early Christians. Often called a “silent majority,” the married laity in fact left behind a significant body of work in the material record. Particularly in and around Rome, they commissioned and used such objects as sarcophagi, paintings, glass vessels, finger rings, luxury silver, other jewellery items, gems, and seals that bore their portraits and other iconographic forms of self-representation. This study is the first to undertake a sustained exploration of these material sources in the context of early Christian discourses and practices related to marriage, sexuality, and celibacy. Reading this visual evidence increases understanding of the population who created it, the religious commitments they asserted, and the comparatively moderate forms of piety they set forth as meritorious alternatives to the ascetic ideal. In their visual rhetoric, these artifacts and images comprise additional voices in Late Antique conversations about idealized ways of Christian life, and ultimately provide a fuller picture of the early Christian world. Plentifully illustrated with photographs and drawings, this volume provides readers access to primary material evidence. Such evidence, like textual sources, require critical interpretation; this study sets forth a careful methodology for iconographic analysis and applies it to identify the potential intentions of patrons and artists and the perceptions of viewers. It compares iconography to literary sources and ritual practices as part of the interpretive process, clarifying the ways images had a rhetorical edge and contributed to larger conversations. Accessibly written, The Visual Rhetoric of the Married Laity in Late Antiquity is of interest to students and scholars working on Late Antiquity, early Christian and late Roman social history, marriage and celibacy in early Christianity, and early Christian, Roman, and Byzantine art.

Cavan W. Concannon makes a significant contribution to Pauline studies by imagining the responses of the Corinthians to Paul’s letters. Based on surviving written materials and archaeological research, this book offers a textured portrait of the ancient Corinthians with whom Paul conversed, argued, debated, and partnered, focusing on issues of ethnicity, civic identity, politics, and empire. In doing so, the author provides readers a unique opportunity to assess anew, and imagine possibilities beyond, Paul’s complicated legacy in shaping Western notions of race, ethnicity, and religion.