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By Barbara E. Borg

A significant other to Roman Art encompasses quite a few inventive genres, historical contexts, and smooth techniques for a finished advisor to Roman art.

• Offers entire and unique essays at the research of Roman art

• Contributions from unusual students with unrivalled services overlaying a wide diversity of overseas approaches

• Focuses at the socio-historical points of Roman paintings, protecting numerous themes that experience now not been offered in any element in English

• Includes either shut readings of person paintings works and basic discussions

• Provides an summary of major elements of the topic and an advent to present debates within the field

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A Companion to Roman Art

A better half to Roman paintings encompasses numerous inventive genres, historic contexts, and glossy ways for a entire advisor to Roman artwork. • Offers finished and unique essays at the learn of Roman artwork • Contributions from exclusive students with unrivalled services overlaying a vast variety of overseas ways • Focuses at the socio-historical features of Roman paintings, masking numerous issues that experience no longer been provided in any aspect in English • Includes either shut readings of person paintings works and normal discussions • Provides an summary of major elements of the topic and an advent to present debates within the box

Extra resources for A Companion to Roman Art

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Hallett The Discovery of Roman Art in the Late Nineteenth Century A hundred years of “Roman art” “Roman art” was first identified as a distinct subfield within the history of art only in the late nineteenth century; and the first scholars to attempt to define the subject, Franz Wickhoff and Alois Riegl, felt compelled to adopt a markedly defensive tone (Wickhoff and von Hartel 1895/1900; Riegl 1901/1985; Brendel 1979, 25–37). Up to that time art historians, ­following the lead of Winckelmann, had regarded the art produced in the Roman period as simply “ancient art in its period of decline”—a motley art, unlike Egyptian or classical Greek art, in that it possessed no recognizable style all of its own.

I owe thanks, first of all, to all contributors to the present volume, who have been willing not only to summarize previous work but to rethink it and present it in an accessible and stimulating way, and who patiently supported the process throughout the years. I am also greatly indebted to Henry Heitmann‐Gordon for his substantial improvements to the English translation from the German, and to Eleni Manolaraki for her translations from the Italian. Devon Harlow and especially Petra Bielecki supported me in the editing process.

A Companion to Roman Art, First Edition. Edited by Barbara E. Borg. © 2015 John Wiley & Sons, Ltd. Published 2015 by John Wiley & Sons, Ltd. 12 Christopher H. Hallett “But you, Roman, remember to rule Earth’s peoples with imperium! 156) “Graecia capta ferum victorem cepit et artis / intulit agreste Latio” (“captive Greece took her uncouth conqueror captive, and introduced the arts into rustic Latium”), Virgil’s lines inevitably suggest that there really was no Roman art. And by the late nineteenth century most educated people seem to have taken this for granted.

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