This beautifully illustrated book represents the first full publication of the most elaborate metal vessel from the ancient world yet discovered. Found in an undisturbed Macedonian tomb of the late 4th century B.C., the volute krater is a tour de force of highly sophisticated methods of bronze working. An unusual program of iconography informs every area of the vessel. Snakes with copper and silver inlaid stripes frame the rising handles, wrapping their bodies around masks of underworld deities. On the shoulder sit four cast bronze figures: on one side a youthful Dionysos with an exhausted maenad, on the other a sleeping Silenos and a maenad handling a snake. In the major repousse frieze on the body a bearded hunter is associated with Dionysian figures. What was the function of this extraordinary object? And what is the meaning of the intricate iconography? The krater is placed in its Macedonian archaeological context as an heirloom of the descendants of the man named in the Thessalian inscription on its rim, and in its art-historical context as a highly elaborated, early-4th-century version of a metal type known in Athens by about 470 B.C.

Greek Art and Aesthetics in the Fourth Century B.C. analyzes the broad character of art produced during this period, providing in-depth analysis of and commentary on many of its most notable examples of sculpture and painting. Taking into consideration developments in style and subject matter, and elucidating political, religious, and intellectual context, William A. P. Childs argues that Greek art in this era was a natural outgrowth of the high classical period and focused on developing the rudiments of individual expression that became the hallmark of the classical in the fifth century. As Childs shows, in many respects the art of this period corresponds with the philosophical inquiry by Plato and his contemporaries into the nature of art and speaks to the contemporaneous sense of insecurity and renewed religious devotion. Delving into formal and iconographic developments in sculpture and painting, Childs examines how the sensitive, expressive quality of these works seamlessly links the classical and Hellenistic periods, with no appreciable rupture in the continuous exploration of the human condition. Another overarching theme concerns the nature of “style as a concept of expression,” an issue that becomes more important given the increasingly multiple styles and functions of fourth-century Greek art. Childs also shows how the color and form of works suggested the unseen and revealed the profound character of individuals and the physical world.

The Peirene Fountain as described by its first excavator, Rufus B. Richardson, is "the most famous fountain of Greece." Here is a retrospective of a wellspring of Western civilization, distinguished by its long history, service to a great ancient city, and early identification as the site where Pegasus landed and was tamed by the hero Bellerophon. Spanning three millennia and touching a fourth, Peirene developed from a nameless spring to a renowned source of inspiration, from a busy landmark in Classical Corinth to a quiet churchyard and cemetery in the Byzantine era, and finally from free-flowing Ottoman fountains back to the streams of the source within a living ruin. These histories of Peirene as a spring and as a fountain, and of its watery imagery, form a rich cultural narrative whose interrelations and meanings are best appreciated when studied together. The author deftly describes the evolution of the Fountain of Peirene framed against the underlying landscape and its ancient, medieval, and modern settlement, viewed from the perspective of Corinthian culture and spheres of interaction. Published with the assistance of the Getty Foundation. Winner of the 2011 Prose Award for Professional and Scholarly Excellence in the category of Archaeology/Anthropology. The Prose Awards are given annually by the Professional and Scholarly Publishing division of the American Association of Publishers.

The papers in this volume derive from the proceedings of the nineteenth International Bronze Congress, held at the Getty Center and Villa in October 2015 in connection with the exhibition Power and Pathos: Bronze Sculpture of the Hellenistic World. The study of large-scale ancient bronzes has long focused on aspects of technology and production. Analytical work of materials, processes, and techniques has significantly enriched our understanding of the medium. Most recently, the restoration history of bronzes has established itself as a distinct area of investigation. How does this scholarship bear on the understanding of bronzes within the wider history of ancient art? How do these technical data relate to our ideas of styles and development? How has the material itself affected ancient and modern perceptions of form, value, and status of works of art? www.getty.edu/publications/artistryinbronze

Dionysos, with his following of satyrs and women, was a major theme in a big part of the figure painted pottery in 500-300 B.C. Athens. As an original testimonial of their time, the imagery on these vases convey what this god meant to his worshippers. It becomes clear that he was not only appropriate for wine, wine indulgence, ecstasy and theatre. Rather, he was presenton many, both happy and sad, occasions. The vase painters have emphasized different aspects of Dionysos for their customers inside and outside of Athens, depending on the political and cultural situation.

This book offers insight into Greek conceptions of art, the artist, and artistic originality by examining artists' signatures in ancient Greece.

Studies on the Derveni Papyrus, volume II brings together two new editions of the first fragmentarily extant columns of the Derveni Papyrus and seven scholarly articles devoted to their interpretation. The Derveni Papyrus is by far the most important textual discovery of the 20th centuryregarding early Greek philosophy, religion, exegetical theory and practice, linguistic ideas, and a host of other areas and issues. But the editorial and interpretative history of this extraordinary document has been very checkered. While the interpretation of the better preserved later columns isstill highly controversial in many regards, at least the text of those columns has by and large found a scholarly consensus; but the editorial and interpretative situation with the worse preserved first columns is quite different. This volume offers not one but two editions of the first columns, byRichard Janko and by Valeria Piano, given that it is not currently possible to agree upon a single edition; and it explains clearly and in detail the papyrological problems and doubts that lead to these two editions, making it possible for readers (even non-papyrologists) to form their own informedjudgment about the most likely readings to be adopted. Furthermore, it contains a number of articles by leading scholars on the Derveni Papyrus, above all offering original solutions to the question of the relation between the earlier and the later columns, but also providing analysis andinterpretation of other, related problems.

The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.

"The thirty-three articles reprinted in this volume were selected from over ninety-five studies Professor Ridgway has published. As with her books, they cover the entire span of Greek sculpture, from the Archaic to the Late Hellenistic period. The articles are here presented in the chronological order in which they first appeared to document the author's evolving views on the history of Greek sculpture. Professor has been given to those that were published in foreign journals and honorary violence two have been translated from the original Italian and one from French. The author has added additional notes at the end to update all the studies. There is a comprehensive index."--BOOK JACKET.

This edited volume groups research on the significance of ancient feet and footwear, much of which was presented, discussed and reviewed at the conference: Shoes, Slippers and Sandals: Feet and Footwear in Antiquity, held at Newcastle University and the Great North Museum from 29 June–1 July 2015. Ancient dress and adornment have received significant consideration in recent scholarship, though, strikingly, feet and footwear have featured relatively little in this discussion. This volume aims to rectify this imbalance through its fifteen chapters covering a wide range of aspects associated with feet and footwear in classical antiquity. Contributions are grouped under four headings: ‘Envisaging footwear’, ‘Following footprints’, ‘One from a pair’ and ‘Between representation and reality’, reflecting the broad range and interdisciplinary nature of the approaches undertaken.