Instructors of Greek art, architecture and archaeology are always in search of a companion book t... more Instructors of Greek art, architecture and archaeology are always in search of a companion book that best synchronises with their approach to the introductory survey. B.’s volume joins two competitors with very similar titles, J.G. Pedley’s Greek Art and Archaeology, first published in 1993 and now in its 5th edition, and R. Neer’s Greek Art and Archaeology: a New History, c. 2500–c. 150 BCE, published in 2012. There are marked and engaging strengths to all three. Several qualities in B.’s approach make this text an attractive alternative rather than simply a permutation. We have used it twice in an introductory survey; in writing this review, we (Wescoat as professor and Cheng as teaching associate) also solicited the reaction of student users. Distinguishing features of B.’s text include the following. First, B. substantially shifts the chronological focus of her survey to concentrate on the historical periods from Geometric expansion through Roman reception into the second century C.E. Aegean prehistory and the Early Iron Age are condensed into a single first chapter that sets up the subsequent six chronological chapters. The Geometric and ‘Orientalizing’ periods are also combined, followed by chapters on the Archaic Mediterranean, the Classical fifth century, the late Classical period to the death of Alexander, Alexander’s legacy in the Hellenistic world, and a short final chapter, ‘Roman Conquest and the Conquest of Rome’. The chapters are well organised, with material grouped in logical constellations of themes suggested by the particular period. Writing takes the lead in the Geometric chapter and is prominent with inscriptions in the Archaic. The Archaic chapter leads with sacred architecture from Magna Graecia to Ionia. Athenian architecture and architectural sculpture is treated separately in the context of the political passage from tyranny to democracy. A closing discussion of the origin of the Classical moves in the following chapter to a discussion of Classical style across regions and a critique of naturalism as a Classical invention before returning to the Acropolis and Agora of Athens. The Late Classical chapter begins in Athens, but rapidly moves to the wider Greek world; the section on Alexander and Macedonian art centres on the image of Alexander and the royal tumulus at Vergina. The Hellenistic chapter begins with creating a royal image and addresses certain themes in Hellenistic art before turning to centres of production, for example Alexandria, Pergamum and points east. Ending with the coming of Rome (with particular emphasis on Delos) provides the transition to the final chapter on the place of Greek art within the world of Rome. THE CLASSICAL REVIEW 485
The cleaning, restudy, conservation, and reassembly of the Nike of Samothrace in 2013–2014 have p... more The cleaning, restudy, conservation, and reassembly of the Nike of Samothrace in 2013–2014 have prompted several new proposals as to its topographical context, date, and function. This article seeks to clarify some fundamental issues about the statue itself; the socle and ship's prow on which it stood; an associated inscription; the precinct and edifice in and around which they were found; and last but not least, their relation to the sanctuary as a whole. These clarifications should enable future work to proceed on a firmer basis than hitherto.
Page 1. Designing the Temple of Athena at Assos: Some Evidence from the Capitals* BONNA D. WESCOA... more Page 1. Designing the Temple of Athena at Assos: Some Evidence from the Capitals* BONNA D. WESCOAT Abstract Recent investigations at the Temple of Athena at Assos, in northwestern Turkey, have brought to light 32 of ...
Instructors of Greek art, architecture and archaeology are always in search of a companion book t... more Instructors of Greek art, architecture and archaeology are always in search of a companion book that best synchronises with their approach to the introductory survey. B.’s volume joins two competitors with very similar titles, J.G. Pedley’s Greek Art and Archaeology, first published in 1993 and now in its 5th edition, and R. Neer’s Greek Art and Archaeology: a New History, c. 2500–c. 150 BCE, published in 2012. There are marked and engaging strengths to all three. Several qualities in B.’s approach make this text an attractive alternative rather than simply a permutation. We have used it twice in an introductory survey; in writing this review, we (Wescoat as professor and Cheng as teaching associate) also solicited the reaction of student users. Distinguishing features of B.’s text include the following. First, B. substantially shifts the chronological focus of her survey to concentrate on the historical periods from Geometric expansion through Roman reception into the second century C.E. Aegean prehistory and the Early Iron Age are condensed into a single first chapter that sets up the subsequent six chronological chapters. The Geometric and ‘Orientalizing’ periods are also combined, followed by chapters on the Archaic Mediterranean, the Classical fifth century, the late Classical period to the death of Alexander, Alexander’s legacy in the Hellenistic world, and a short final chapter, ‘Roman Conquest and the Conquest of Rome’. The chapters are well organised, with material grouped in logical constellations of themes suggested by the particular period. Writing takes the lead in the Geometric chapter and is prominent with inscriptions in the Archaic. The Archaic chapter leads with sacred architecture from Magna Graecia to Ionia. Athenian architecture and architectural sculpture is treated separately in the context of the political passage from tyranny to democracy. A closing discussion of the origin of the Classical moves in the following chapter to a discussion of Classical style across regions and a critique of naturalism as a Classical invention before returning to the Acropolis and Agora of Athens. The Late Classical chapter begins in Athens, but rapidly moves to the wider Greek world; the section on Alexander and Macedonian art centres on the image of Alexander and the royal tumulus at Vergina. The Hellenistic chapter begins with creating a royal image and addresses certain themes in Hellenistic art before turning to centres of production, for example Alexandria, Pergamum and points east. Ending with the coming of Rome (with particular emphasis on Delos) provides the transition to the final chapter on the place of Greek art within the world of Rome. THE CLASSICAL REVIEW 485
The cleaning, restudy, conservation, and reassembly of the Nike of Samothrace in 2013–2014 have p... more The cleaning, restudy, conservation, and reassembly of the Nike of Samothrace in 2013–2014 have prompted several new proposals as to its topographical context, date, and function. This article seeks to clarify some fundamental issues about the statue itself; the socle and ship's prow on which it stood; an associated inscription; the precinct and edifice in and around which they were found; and last but not least, their relation to the sanctuary as a whole. These clarifications should enable future work to proceed on a firmer basis than hitherto.
Page 1. Designing the Temple of Athena at Assos: Some Evidence from the Capitals* BONNA D. WESCOA... more Page 1. Designing the Temple of Athena at Assos: Some Evidence from the Capitals* BONNA D. WESCOAT Abstract Recent investigations at the Temple of Athena at Assos, in northwestern Turkey, have brought to light 32 of ...
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