A well illustrated and highly detailed study of the Alexander Mosaic which once furnished the floor of the House of the Faun in Pompeii. Moreno discusses the background to the mosaic, speculating on which battle may have been depicted, when the piece was produced and by which artist. The composition of the scene, the figures portrayed and the artistic style and conventions are discussed in detail and other works of art are consulted in Moreno's attempt to link the mosaic with the work of the artist Apelles. Includes many close-ups of the mosaic in colour.

Dr. Apelles, a translator of ancient texts, has made an unsettling discovery: a manuscript that has languished for years, written in a language that only he speaks. Moving back and forth between the scholar and his text, from a lone man in a labyrinthine archive to a pair of beautiful young Indian lovers in an unspoiled and snowy woodland, David Treuer weaves together two love stories. Enthralling and suspenseful, The Translation of Dr. Apelles dares to redefine the Native American novel.

Examining every aspect of the culture from antiquity to the founding of Constantinople in the early Byzantine era, this thoroughly cross-referenced and fully indexed work is written by an international group of scholars. This Encyclopedia is derived from the more broadly focused Encyclopedia of Greece and the Hellenic Tradition, the highly praised two-volume work. Newly edited by Nigel Wilson, this single-volume reference provides a comprehensive and authoritative guide to the political, cultural, and social life of the people and to the places, ideas, periods, and events that defined ancient Greece.

The first reference work devoted to their lives and roles, this book provides information on some 200 artists' models from the Renaissance to the present day. Most entries are illustrated and consist of a brief biography, selected works in which the model appears (with location), a list of further reading. This will prove an invaluable reference work for art historians, librarians, museum and gallery curators, as well as students and researchers.

An encyclopaedic work on color in Western art and culture from the Middle Ages to Post-Modernism.

M. David Litwa tells the stories of the early Christians whose religious identity was either challenged or outright denied. In the second century many different groups and sects claimed to be the only Orthodox or authentic version of Christianity, and Litwa shows how those groups and figures on the side of developing Christian Orthodoxy often dismissed other versions of Christianity by refusing to call them “Christian”. However, the writings and treatises against these groups contain fascinating hints of what they believed, and why they called themselves Christian. Litwa outlines these different groups and the controversies that surrounded them, presenting readers with an overview of the vast tapestry of beliefs that made up second century Christianity. By moving beyond notions of “gnostic”, “heretical” and “orthodox” Litwa allows these “lost Christianities” to speak for themselves. He also questions the notion of some Christian identities “surviving” or “perishing”, arguing that all second century "Catholic" groups look very different to any form of modern Roman Catholicism. Litwa shows that countless discourses, ideas, and practices are continually recycled and adapted throughout time in the building of Christian identities, and indeed that the influence of so-called “lost” Christianities can still be felt today.

After classical antiquity, the Italian Renaissance raised the portrait, whether literary or pictorial, to the status of an important art form. Among sixteenth-century Renaissance painters, Titian made his reputation, and much of his living, by portraiture. Titian's portraits were promoted by his friend, Pietro Aretino, an eminent poet and critic, who addressed his letters and sonnets to the same personages whom Titian portrayed. In many of these letters (which often included sonnets), Aretino described both an individual patron and Titian's portrait of that patron, thus stimulating the reciprocal relation between a verbal and pictorial portrait. By investigating this unprecedented historical phenomenon, Luba Freedman elucidates the meaning conveyed by the portrait as an artistic form in Renaissance Italy. Fusing iconographical analysis of the most famous Titian portraits with rhetorical analysis of Aretino's literary legacy as compared to contemporary reactions, Freedman demonstrates that it is due to Titian's many portraits and to Aretino's repeated simultaneous writings about them that the portrait ceased being primarily a social-historical document, preserving the sitter's likeness for posterity. It gradually became, as it is today, a work of art, the artist's invention, which gives its viewer an aesthetic pleasure.

"Larry Shiner challenges our conventional understandings of art and asks us to reconsider its history entirely, arguing that the category of ine art is a modern invention - and that the lines drawn between art and craft emerged only as the result of key European social transformations during the long eighteenth century"--Publisher's description.