This publication – Living and Dying on the Roman Frontiers and Beyond – is the third volume of the LIMES XXV’s congress proceedings and deals with a variety of themes, including the iconography of victory; aspects of frontier societies; mobility and the place of children; funerary archaeology; the significance of Roman imports beyond the frontiers. The proceedings are mostly arranged around the original sessions, creating coherent thematical collections that make the vast output more accessible to generalists and specialists alike.Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

This publication – Strategy and Structures along the Roman Frontiers – is the second volume of the LIMES XXV’s congress proceedings and deals with the following themes: Roman military activities during the Republic; the early frontier formation processes and tribal reshuffling; new insights in the installations of the Roman armies; an odyssey along different Limes regions; the collapse of Roman frontiers; the afterlife of frontier fortifications. The proceedings are all arranged around the original sessions, creating coherent thematical collections that make the vast output more accessible to generalists and specialists alike.Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

This publication – Supplying the Roman Empire – is the fourth volume of the LIMES XXV’s congress proceedings and deals with various aspects of the supply and provisioning of the Roman empire, and the role of the Roman armies housed on its fringes herein. The result is a wide-ranging collection of papers dealing with topics such as: finds of organic material; riverine and maritime supply and security; militarily controlled mining; building material procurement and processing; agro-political schemes and water management; military material culture. The proceedings are all arranged around the original sessions, trying to create coherent thematical collections that make the vast output more accessible to generalists and specialists alike. Frontiers are zones, or lines, of contact and coercion, of exchange and exclusion. As such they often express some of the most typical elements of the socio-political spaces that are defined by them. Spanning some 6,000 km along rivers, mountain ranges, artificial barriers and fringes of semi-desert, the frontiers of the Roman empire offer a wide variety of avenues and topics for a very diverse community of scholars. They are the central subject of the International Congress of Roman Frontier Studies (or just Limes Congress after the Latin word for ‘border’), organised every three years since 1949. This four-volume publication contains most of the papers presented at the 25th edition which was hosted by the municipality of Nijmegen in August 2022.

Herry Perry (1897-1962) is an important, but neglected, artist of the 1920s-50s. The book brings together all aspects of her art for the first time. She studied at the Central School of Arts and Crafts (now Central Saint Martins) from 1924-7 and was taught wood engraving there by Noel Rooke. Her first love was wood engraving but she quickly moved on to use the wide range of other skills she acquired at the Central. Her best known work is the posters she designed for Frank Pick at London Transport from 1927-38. She produced some sixty witty and inventive posters during this time. Some of these included birds-eye view maps of areas of London. She was also commissioned to paint murals, most famously two on R.M.S. Queen Mary in 1936, and also a map mural for Rothamsted Research Station in 1932 (which can still be seen there). She also illustrated various books, some of which were written by her. The text and illustrations often show her sense of humour. The Second World War and the death of Frank Pick in 1941 put an end to her poster work. After the War she painted a large number of pub signs for various London and Kent breweries.

The painter, Romi Behrens, lived in West Cornwall for nearly sixty years, voraciously painting the subjects around her every day. Her artistic career was as long as it was broad and spanned many genres, including still life, portraiture and landscape painting. This is the first monograph to pay homage to the extent of her career, providing a selected but characteristically-diverse range of visual and written material from the artist’s oeuvre and archives, starting with Romi's earliest paintings of her family, friends and the streets of Penzance and extending to religious themes done later in her life. Rachel Rose Smith gives chronological shape to the span of Romi’s work, analysing the varying relationships throughout between the person and her work, as it reflected the many identities she held, including painter, woman, wife and mother. The author also explores rich connections embedded within her ways of seeing to formative examples from the history of painting, including Rembrandt, Van Gogh, Matisse, Cezanne and Picasso, with whom she arguably worked in dialogue. Romi’s works, however, are very much her own throughout, with those forms of expression and attention learnt from precedents mingling with her own humour, flair and surrounding life. Romi’s Christian faith and the loving focus she gave to her many subjects, whether friends or inanimate objects, are similarly explored, revealing a body of work which is both tender and vibrant, as well as persistent and constantly on the move.

“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.

Since the completion of the four volumes of Roman Mosaics of Britain covering all of Britain to 2010, more mosaics have been discovered and research has continued. The present volume brings the catalogue up-to-date to July 2023, while the first part is devoted to various aspects of mosaic, including subject matter, context, design and manufacture. This is a lengthy overview of mosaic research, which could only be discussed on a regional basis in the previous volumes. The principal finds are the amazing figured mosaics, from Boxford, West Berkshire and Ketton, Rutland, arguably the most important discoveries in over 60 years. However, there are also numerous mosaics from other sites, illustrated along with building plans where possible, including re-excavation of known mosaics and historic recordings that have re-emerged since 2010.

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.