“The entry of daggers into the Forum” is an expression that identifies two precise historical moments: when two tribunes of the plebs—brothers Tiberius Sempronius Gracchus and Caius Sempronius Gracchus—were murdered in Rome in 133 and 122 BC amidst bloody riots. These deaths and subsequent events marked the rupture of the constitutional order in the Roman Republic and the beginning of a political crisis. Thus began a political process that would lead, over the span of three generations, to the end of the res publica, a transition of endless violence, ransacking, and destruction, including three bitter and bloody civil wars. Internal politics in Rome in this period was fueled by social conflict, the confrontation between two political alignments—the Optimates and the Populares—each headed by an eminent figure and was characterized by sectarianism and (factional) intolerance. It was characterized by speeches delivered in the Senate, in the streets, and in the courts with solemnity and intensity but equally by the daggers that flashed in the hands of conspirators and assassins; by street riots, with thousands of victims; by real or alleged coups d’état, with ferocious mass repressions; by summary executions; by victims abandoned to the fury of the mob; of widespread civil wars whose battles intertwined with those against enemies abroad; manhunts, horrendous crimes; the system of legalized killings that aimed at the annihilation of political opponents known as proscriptions; corruption; and brutal and mass killings.This book discusses this tumultuous period in Rome between 133 and 78 BC, covering the plots of the Senate of Rome against the Gracchi and their violent ends, the mysterious death of Publius Cornelius Scipio Aemilianus, destroyer of Carthage and of Numantia, the ferocious lynching of Lucius Apuleius Saturninus, the seditious tribune of the plebs, the civil war between Marius and Sulla, including the siege and capitulation of Rome and Marius’ reign of terror, ending with the definitive victory and proscriptions of Sulla.

Detailing the results of excavations undertaken by the Cambridge Archaeological Unit at the Cambridge Biomedical Campus between 2007 and 2016, this volume builds upon the work of previous large-scale projects within an area that now represents one of the most intensively investigated archaeological landscapes in Britain. Also included is a chapter contributed by Oxford Archaeology East concerning their excavations within the Biomedical Campus, which has enabled full publication of the site’s archaeology in a single volume.The excavations exposed three major sites: a Middle Bronze Age enclosure complex, a Late Iron Age–Early Roman farmstead with associated ring-ditch cemetery, and a first- to fourth-century AD Roman farmstead. The archaeological evidence and analyses of the sites’ substantial artefact assemblages and economic data are presented alongside detailed consideration of the palaeoenvironment and Bayesian modelling of radiocarbon dates relating to the Middle Bronze Age enclosure sequence. Preliminary results from aDNA analysis of burials from the site’s small Late Roman inhumation cemetery and the nearby Late Iron Age/Early Roman cemetery at the Hutchison Site – previously excavated and published by the Cambridge Archaeological Unit – are also included. Together, the results provide new and important insight into the region’s prehistoric and Late Iron Age–Roman settlement, their respective economies and the communities that inhabited them.

The site of Phylakopi on Melos occupies a special place in the prehistory of the Aegean Bronze Age. The first work there by the British School at Athens in 1896–99 (there were two further campaigns, in 1911 and 1974–77) was memorably described by Carl Blegen as ‘the first really serious effort to understand stratification, the first really good excavation in Greece’. The Field Director, Duncan Mackenzie, kept detailed day-to-day records of the work, later applying methods developed on Melos to the excavation of Knossos. The circumstances surrounding the initial excavation permit for Phylakopi and the role of Christos Tsountas, who later organised the Cycladic displays in the National Archaeological Museum in Athens, are here examined in an opening Chapter. Following the 1896–99 excavations, the retained finds were sent to the National Archaeological Museum, where they remain today, thus providing the basis for the studies published here. Although the first publication (1904) of the finds was of exceptional quality for its time — indeed Campbell Edgar’s exemplary account of the pottery provided the foundation of a sequence for the Cyclades — it lacked detailed catalogue descriptions and scale drawings, essential for archaeological analysis and comparison. This double Volume fills such gaps and re-examines the significance of the finds, taking advantage of recent developments in research and scientific techniques. Petrographic, chemical and pXRF analyses clarify the nature and sources of materials used, as well as technological aspects, helping to shed light on relationships with other Cycladic islands, Crete, and the Greek mainland. The coarse and undecorated pottery is fully described for the first time, providing a template for future work. Finds of post-prehistoric date, housed with the Phylakopi material but certainly not from the site, are presented with explanations as to their probable origin in other (unpublished) British School excavations on Melos. Chapters on bone/ivory, metals, and stone all contribute new insights into the discoveries at Phylakopi and their implications for our understanding of the Bronze Age Cyclades and beyond, while the Chapter on weaving undoubtedly has broader relevance to sites elsewhere in the Aegean. A major new study of the physically meagre fresco fragments, illustrated with fine watercolour visualisations, reconstructs the decoration of the Pillar Crypt complex and places it in the context of contemporary Aegean wall painting. Indeed the wealth of illustrations in this publication — line drawings, half-tone and colour plates — will now allow informed comparisons between Phylakopi and other sites of the Bronze Age Aegean.

Ray Atkins (b.1937) is one of the least well known major painters of his generation. He studied at Bromley College of Art in Kent before gaining a post graduate place at the Slade despite having failed the National Diploma in Design in 1961. His first teaching post was at Reading University in 1965 where he lived and recorded in paint the huge upheavals that the town was undergoing, leading to a one person exhibition at the Whitechapel Gallery, London in 1974.A teaching post at Falmouth Art School in 1974 led to a thirty four year stay in Cornwall where he painted the extraordinary landscape of the china clay country around St Austell with its collossal pits and mounds of micae.The desolation left over by the demise of the tin mining industry was also a major theme, The more intimate subjects of children, gardens, family life and inevitably the sea were also part of the oevre. The nineties also saw a long series of works on the theme of dance.To celebrate the uncelebrated was his dictum.Peter Davies follows Atkins’ journey from the dark but creative London period to the high spots in the eighties with a retrospective at the Royal West of England Academy and with work selected for the John Moores in Liverpool, a room at a Serpentine summer Show, and representation in shows at the Hayward gallery.The book also follows the tensions and problems arising from Atkins’ insistence on working direct from his subjects and places the artist’s career in the wider context of the twists and turns of events in the art world in the UK, Europe and beyond.In addition, David Stoker gives a personal account of his discovery of Atkins in France, leading to a growing friendship and a deep understanding and respect for the work.

Sensing Greek Drama explores ancient Greek tragedy and comedy through the lens of the senses. It works within and beyond a number of recent developments in the scholarship of Classics and related fields. The essays within the volume engage with the senses in drama in manifold ways: through various theoretical frameworks borrowed from kindred fields in the humanities and sciences - postmodernism, humanism, feminism, phenomenology, cognitive theory and neuroscience, to name a few - as well as through the more traditional approaches within Classics of philology, historicism, performance studies and reception. The essays cover a relatively narrow range of tragic and comic plays, instead of encompassing the entirety of ancient drama, in order to foster meaningful links throughout the volume and to exemplify the value of engaging with the senses to produce new understandings of drama - and of the senses themselves. As a result of the volume, the study of Greek drama will be opened up for further research. This will not only appeal to Classicists interested in the meaning of the comedies and tragedies of the fifth century BC, but it will also be of interest to scholars interested in sensory approaches to literature. Above all, Sensing Greek Drama will serve as a call to “to recover our senses”, as Susan Sontag wrote in her famous essay “Against Interpretation”, in a modern age characterized by sensory overload and deprivation.

Focusing on the British virtuoso Rex Whistler (1905–1944), who was linked to many of the most illustrious figures of the inter-war period, this book explores an exceptional case of artistic patronage in the twentieth century. In weaving together social and art history, this beautifully illustrated volume will be as much about the artist as it is about his patrons. It accompanies a major exhibition at the Salisbury Museum, which holds the Rex Whistler Archive. Whistler’s cast of patrons reads like the Who’s Who of his time: the art collector and poet Edward James, the avid diarist and socialite Sir Henry ‘Chips’ Channon, Lord and Lady Louis Mountbatten, Cecil Beaton, Duff and Diana Cooper, author and poet Lady Dorothy Wellesley and many others for whom Whistler worked on a diverse range of commissions, from murals, portraits and bookplates to architectural improvements and even book illustrations. The exchange with his patrons, the book argues, gave Whistler an opportunity to explore a rich variety of subjects, materials and techniques.The artworks discussed in the volume range from a recently re-discovered painting for Sir Malcolm Bullock, a substantial history painting unique in Whistler’s oeuvre, to the magnificent murals at Port Lympne and Trent Park designed for Sir Philip Sassoon, one of the greatest hosts of the age, to Plas Newydd, where Whistler created one of the largest private mural schemes in the inter-war period for the 6th Marquess and Marchioness of Anglesey. It culminates with Maud Russell’s mansion at Mottisfont, where in 1938–39 the artist was painting one of his fi nest works in trompe l’oeil as war loomed over Europe, the war in which Whistler gave his life for his country.Whistler’s commissioning circle were both diverse and privileged, with many embracing the sexual fluidity of the time, and the book deepens our understanding of how the elite were protected by their wealth and position from the strict societal mores of the 1920s and 30s. The artist understood the importance of creating beautiful private spaces for all his clients; but, for some, at a time when homosexuality was still illegal, he was painting murals in houses that were acknowledged havens where sexual preferences could be expressed without fear of discrimination.Dr Nikki Frater, an expert on Whistler’s work, draws on extensive archival research and newly available material to present a fresh interpretation of the relationship between the artist and his milieu. Frater’s behind-the-scenes approach illuminates Whistler’s creative methods and techniques and includes many previously unseen drawings and sketches. The book speaks not only of his patrons, but also paints a nuanced portrait of his oeuvre and the artist himself, as he tried to combine his challenging career with a complicated romantic life. This is a timely re-examination, given the recent controversy surrounding his mural at the Tate Gallery Restaurant, and offers an opportunity to understand fully Whistler’s place in and contribution to the arts and culture of his time.

This volume follows on from papers presented at the 13th International Cretan Congress in 2022 and covers the period from the 1st century BC to 4th–5th centuries AD, with the articles in the volume set around the topic of upheavals and disruptions, and in particular those evidenced with the arrival of Rome, the creation of the Roman Province, along with those resulting from the dividing of the Roman Empire and the emergence of the Byzantine world. The volume is set against the background of the Roman conquest of Crete in 67 BC, which heralded the end of the power and control of the Greek city-states, which were themselves steeped in age-old traditions and governed by a variety of legal frameworks, some of which had their roots in Archaic times. The ensuing changes, when they arrived, took centuries to develop but resulted in the establishment of a Greco-Roman culture and society that was far removed from its Hellenistic predecessor. Roman Crete witnessed several significant periods of disruption and interventions that had a direct impact on daily life and society. These included the military invasion of the island by Rome, at one end of the period, and the AD 365 destructive earthquake at the other, but other interruptions also occurred: changes to religion and religious practices, including the introduction of Christianity; fluctuations in natural resources that affected agricultural production and thus local economies and trade; monetary devaluations in Rome; movements of populations; external shifts in trading networks; and multiple instances of tectonic activity in the Imperial period that caused damage and instability.

This volume was prompted by the recent discovery in Britain of two large coin hoards dating from the first decade of the fourth century AD – Wold Newton and Rauceby. Coins of this early Tetrarchic period are relatively uncommon finds in Britain and elsewhere, due mainly to the brevity of their periods of issue followed by successive reductions in the weight of the coinage. The book also republishes the 1944 Fyfield hoard within the context of these more recent finds and contains preliminary reports on two very large hoards of coins of the same period that have been found in recent years in France (Juillac) and Spain (Tomares). The Tetrarchic system of rule (AD 293−c. 313) was initiated by the Roman Emperor Diocletian to stabilise the Roman Empire, with the rule of the western and eastern Empire being split between two senior emperors and their two junior colleagues. The transition from the third to fourth century AD is a pivotal phase in the history of Roman Britain, with Britain coming once again under the control of the Empire following periods of turbulence and usurper rule between AD 260−296. Under the Tetrarchy, Britain was subjected to the extensive monetary reforms undertaken by Diocletian which saw the introduction of the denomination now referred to as the nummus. The period is of particular interest to numismatists as during this time Roman coinage was minted in Britain at the mint of London. The volume therefore covers not just the hoards themselves, but also considers the wider significance of these hoards for Britain and the early fourth century monetary economy, particularly in the western empire.

For more than fifty years, George Kenney has dedicated himself to the study of European art, demonstrating a profound passion for works on paper, including etchings, drypoints, and lithographs. George authored a Catalogue Raisonné titled 'The Illustrated Bartsch, Vol. 51' for Abaris Books in 2017. This comprehensive work explores the etchings of Ferdinand Bol, a prominent 17th-century artist and student of Rembrandt. In 1990, George embarked on a 35-year journey, passionately studying and cataloging Belleroche's captivating lithographs, many of which were unpublished. In 2001, he collaborated with Steven Kern, curator of European art, to facilitate a significant exhibition of Belleroche’s lithographs at the San Diego Museum of Art, where he concurrently held a position as a Trustee. Additionally, George has a keen interest in 17th century English clocks and has contributed articles to Antiquarian Horology on Daniel Quare, a renowned clockmaker of that era. George attributes his early love for art to his mother, Marguerite Shirley Kenney, who took him to many museums during his childhood. Now residing in San Diego, California, George's entrepreneurial spirit has driven him through diverse careers, including roles as an engineer, inventor, venture capitalist, and business coach. Alongside his wife, Olga, he actively participates in the Small Group and Marriage Ministries at Saddleback Church.

Adam Bruce Thomson (1885-1976) was one of the most quietly impactful artists of his generation. Born in Edinburgh, he was among the earliest intake of students to train at the newly established Edinburgh College of Art. He went on to have a long-running teaching career at the College, supporting and encouraging successive cohorts. In his own practice, Thomson worked across a range of media, producing etchings, drawings, watercolours and oil paintings. A committed member of several artist-led societies, he exhibited widely and was well-respected by his peers. To date, however, his contribution to twentieth-century Scottish art remains largely unexplored.Adam Bruce Thomson: The Quiet Path celebrates the achievements of this talented yet modest figure. It provides an in-depth account of his life and career, charting his creative development and examining his role as a teacher, mentor and friend to other artists. The book is fully illustrated, and draws from previously unseen archival material. It accompanies a major exhibition at Edinburgh’s City Art Centre in 2024.

Harold Harvey, a true ‘son of Cornwall’, has been one of the most under-rated and least written about members of the Newlyn ‘School’ of artists which flourished from 1880 to 1930. The son of a bank manager, he grew up in Penance, and after studying under Norman Garstin and a spell in Paris, he settled to a quiet life in Newlyn with fellow-artist Gertrude, painting The Cornwall he knowS from the inside.In his introductory essay, Professor Kenneth McConkey sets Harvey in the context of the art moments of the time, and shows how his early ‘genre’ paintings of rustic and marine life, so characteristic of the early Newlyn artists, gradually gave way to more sophisticated subject matter – Harvey was noted for his sumptuous interiors – and a flatter and more decorative style of painting. His early work might be compared with that of Stanhope Forbes, while his later paintings show clear affinities with those of fellow painters such as Laura Knight and Dod Procter.Professor McConkey’s essay complements the first significant ‘life’ of Harold Harvey, researched and written by Peter Risdon and Pauline Sheppard, which is in turn illuminated by Peter Risdon’s painstakingly compiled catalogue raisonne of over 600 paintings.Harvey’s painting output was prodigious, and this book includes approximately 100 illustrations of his favoured subjects: the Cornish at work, children at play, and intimate interior scenes and conversation pieces. Many of his contemporaries in Newlyn were visiting ‘observers’, but for Harold Harvey, who rarely went outside the county even though a regular exhibitor at the Royal Academy, painting the Cornish world ‘because it was there’ was his whole life.

This volume provides an authoritative and systematic account of the coins minted for Roman Egypt between AD 138 and 192. It is the first of four volumes, which will cover the provincial coinage of this crucial period of Roman history in its entirety.The coinage in this volume was produced at Alexandria, the commercial and cultural capital of the eastern Mediterranean. It is dated by the year, making it an invaluable guide to imperial presentation and to economic developments during this transitional period. Its iconography is of exceptional interest to scholars and collectors, combining fascinating aspects of Greek, Roman and Egyptian culture.The book gives a complete picture of the material, meeting the needs of numismatists and providing an essential reference for historians, archaeologists and other students of the Roman empire. The introductory chapters and extensive catalogue are accompanied by illustrations of virtually all known types.

This book is a significant contribution to the field of survey pottery studies, which is not frequently theorised, and could also serve as a guide and provide inspiration to archaeologists designing their own survey projects and methodologies. Landscape archaeology has heavily relied on pedestrian survey as a field method for more than half a century. In most field projects, archaeological ceramics constitute the lion’s share among the finds and the amount of collected sherds is overwhelming. Survey ceramics provide the basis for understanding human activity in a landscape, and sherds serve as convenient chronological markers for the archaeological sites discovered in field projects. However, how this pottery is collected and studied determines the possibilities for using the sherds as a source material. Not only the collection practices, but also the process and practicalities of ceramic analysis are rarely made explicit, even though the archaeological interpretations of human activity in the landscape strongly rely on it. Most contributions in this volume provide an insight in collection, processing and interpretation practices in a specific survey project, and we hope this transparency is inspiring and contributes to a better understanding of surface ceramics as a basis for historical interpretations. Three themes run as a red thread through the contributions in this book: first of all transparency in ceramic collecting, processing and interpretation, secondly, improving diagnosticity, and thirdly, expanding the interpretive potential of survey ceramics. The chapters are geographically oriented towards Greece and Italy, two countries in which archaeological surface survey is widely practised. Chronologically, the contributions range from the Bronze Age to the Medieval period.

The artist Michael Sandle (b. 1936) is well known for his powerful and uncompromising sculptures such as A Twentieth Century Memorial (1971-78), The Drummer (1985) and Iraq: The Sound of Your Silence (2009). Sandle has also been a very prolific draughtsman over the years, making a large number of prints and drawings, both in relation to his sculpture and also apart from it. This new publication looks closely at his works on paper across his whole career. It presents his two-dimensional work from his early years whilst training at Douglas School of Art (1951-54), at the Slade School of Art (1956-59), where he studied painting and printing, and at the Atelier Patris in Paris (1960), right up to the present day. Alongside lithographs and etchings, it shows pages from his sketchbooks and many medium and larger format drawings.The book begins with a new and extensive ‘in conversation’ conducted between Sandle and the art historian and curator Jon Wood that looks in detail at the interconnected lives led by his prints, drawings and sculptures over the last sixty years. Their discussion focusses on the materials and techniques the artist has used, as well as on the subjects, concerns and contexts of this extraordinary body of work.

The new volume of the long-running Journal of Roman Pottery Studies will include conference proceedings of the 2019 conference held at Atherstone, Warwickshire, and the 50th anniversary conference of the Study Group for Roman Pottery held online with Newcastle University. Papers reflect on recent advances in methodological approaches and their applications, the past and future role of the society and new initiatives in archiving policies and their implications. It will also contain a number of papers outside these conferences that focus on pottery production, notably of colour-coated wares in Lincoln and in the province of Noricum, as well as a report on the glass working furnace discovered alongside the pottery production kilns at Mancetter-Hartshill. Book reviews and obituaries are also included.

The study of Roman urbanism – especially its early (Republican) phases – is extensively rooted in the evidence provided by a series of key sites, several of them located in Italy. Some of these Italian towns (e.g. Fregellae, Alba Fucens, Cosa) have received a great deal of scholarly attention in the past and they are routinely referenced as textbook examples, framing much of our understanding of the broad phenomenon of Roman urbanism. However, discussions of these sites tend to fall back on well-established interpretations, with relatively little or no awareness of more recent developments. This is remarkable, since our understanding of these sites has since evolved thanks to new archaeological fieldwork, often characterised by the pursuit of new questions and the application of new approaches. Similarly, new evidence from other sites has since prompted a reconsideration of time-honoured views about the nature, role and long-term trajectory of Roman towns in Italy.Tracing its origins in the Laurence Seminar on Roman Urbanism in Italy: recent discoveries and new directions, which took place at the Faculty of Classics of the University of Cambridge (27–28 May 2022), this volume brings together scholars whose recent work at key sites is contributing to expand, change or challenge our current knowledge and understanding of Roman urbanism in Italy. The individual chapters showcase some of the most recent methods and approaches applied to the study of Roman towns, discussing the broader implications of fresh archaeological discoveries from both well known and less widely known sites, from the Po Plain to Southern Italy, from the Republican to the Late Antique period (and beyond).