The Oxford Handbook of Roman Sculpture by Elise A. Friedland, Melanie Grunow Sobocinski -- Read -- Imperial Library of Trantor

Index

Cover Title Page Copyright Page Dedication Contents Acknowledgments List of Contributors Introduction Part I Collecting, Conservation, and Display

1.1. Collecting in Premodern Europe 1.2. Conservation and Restoration 1.3. Collecting in Early America 1.4. Current Trends in Museum Display 1.5. Three-Dimensional Scanning and Modeling

Part II Production and Distribution

2.1. Marble Quarries: Ancient Imperial Administration and Modern Scientific Analyses 2.2. Marble Carving Techniques, Workshops, and Artisans 2.3. Reuse and Recarving: Technical Evidence 2.4. Bronzes 2.5. Terracottas 2.6. Polychromy 2.7. Transport and Distribution

Part III Styles and Genres

3.1. Style: Applications and Limitations 3.2. Etruscan Connections 3.3. “Idealplastik” and the Relationship between Greek and Roman Sculpture 3.4. Portraiture 3.5. Monumental Reliefs 3.6. Archaism and Eclecticism 3.7. Egyptian-Style Monuments 3.8. Late Antique Sculpture

Part IV Spatial and Social Contexts

4.1. Architectural Settings 4.2. Religious Dedications 4.3. Domestic Displays 4.4. Funerary Monuments 4.5. Epigraphy and Patronage 4.6. Imperial Messages 4.7. Non-Elite Patronage 4.8. Gender

Part V Regions and Provinces

5.1. Northern Gaul, Germany, and Britain 5.2. Hispaniae and Narbonensis 5.3. North Africa 5.4. Greece 5.5. Asia Minor 5.6. Egypt 5.7. Near East

Part VI Viewing and Reception

6.1. Aesthetics and Latin Literary Reception 6.2. Reception Theory 6.3. Ancient Analogs of Museums 6.4. Images of Statues in Other Media 6.5. Human Interactions with Statues 6.6. Iconoclasm

Art Credits Index