This book examines the appetite for Egyptian and Egyptian-looking artwork in Italy during the century following Rome's annexation of Aegyptus as a province. Although the foreign appearance of these artworks was central to their appeal, this book situates them within their social, political, and artistic contexts in Roman Italy.
This book examines the appetite for Egyptian and Egyptian-looking artwork in Italy during the century following Rome's annexation of Aegyptus as a province. Although the foreign appearance of these artworks was central to their appeal, this book situates them within their social, political, and artistic contexts in Roman Italy.
Molly Swetnam-Burland is associate professor in the Department of Classical Studies at The College of William and Mary. She has received fellowships from the Getty Research Institute, the Archaeological Institute of America, the Deutsches Archäologisches Institut in Berlin, and the University of Cincinnati. She has published articles in the American Journal of Archaeology, The Art Bulletin, and several edited volumes.
Inhaltsangabe
Introduction: from Egypt to Italy 1. Egyptian objects, Roman contexts: appropriation and aesthetics 2. Aegyptus Redacta: Augustus' obelisks and the spoils of Egypt 3. The sanctuary of Isis in Pompeii: dedication and devotion, myth and ritual Appendix 3.1: marble inscriptions from the sanctuary of Isis Appendix 3.2: dipinti near the sanctuary of Isis Appendix 3.3: multiples and adaptations: Io panel paintings Appendix 3.4: graffiti quoting or, adapting Ovid from Pompeii 4. Images of Egypt: land at the limit of belief Appendix 4: the structure and argument of 'Juvenal 15' Conclusion: the afterlives of objects.
Introduction: from Egypt to Italy 1. Egyptian objects, Roman contexts: appropriation and aesthetics 2. Aegyptus Redacta: Augustus' obelisks and the spoils of Egypt 3. The sanctuary of Isis in Pompeii: dedication and devotion, myth and ritual Appendix 3.1: marble inscriptions from the sanctuary of Isis Appendix 3.2: dipinti near the sanctuary of Isis Appendix 3.3: multiples and adaptations: Io panel paintings Appendix 3.4: graffiti quoting or, adapting Ovid from Pompeii 4. Images of Egypt: land at the limit of belief Appendix 4: the structure and argument of 'Juvenal 15' Conclusion: the afterlives of objects.
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