In this article, the famous Assyriologist William Ward discusses the gods of the Hittites as the appear in in art as well as foreign deities who commonly appear alongside them.

Earnest DeWald traces the development of the iconography of the Ascension from its earliest type through to the Gothic form, showing the manner in which the Eastern influence modified the types current in western art.

The Ludovisi throne is a famous works of early Classical sculpture, a white marble chair covered with bas relief. This article compares the Ludovisi throne to a similar piece in Boston, arguing that the two works are companion pieces.

Luca della Robbia was a Florentine sculptor who is currently thought to have lived from 1400-1482. In this article Alan Marquand suggests a chronology for the Madonnas sculpted by Luca della Robbia.

Lester B. Holland, professor of Architecture at the University of Pennsylvania, addresses the puzzle of Doric entablature, suggesting that the persistence of the form of the entablature is due to its mimicry of earlier fortifications.

A. L. Frothingham, one of the founding fathers of Art History as a discipline, answers the question “What is Art? ”

Porter explains the sudden appearance of Romanesque sculpture in the 12th century AD by suggesting an origin in the sculpture of Lombardy.

William Dinsmoor, one of the experts who directed the first reconstruction of the Athenian Acropolis, here addresses the problem of the arrangement of the sculptures on the parapet of the temple of Athena Nike on the Acropolis.

In this paper John Bonnel argues that the representation of the serpent in Eden as having a human head originated in the mystery plays of the 13th century, where the serpent was played by an actor and had a head.

This paper presents a careful chronology of white lechythoi and demonstrates the methods by which pottery dating was established before modern equipment allowed carbon dating of organic residue.

This paper reviews these competing theories of the definition of 'Gothic' and the way in which this style developed, presenting an overview of the difficulties involved in assigning a single name to a developing form of human expression

Chase describes three tripods found in Etruscan tombs and discusses the extent to which they represent Etruscan adoption of Greek tripod-offering customs.

In this paper Houghton addresses two problematic Italian Renaissance sculptures whose artists are unknown, the portrait bust of a youth and that of a Roman emperor.

Arthur Frothingham, one of the founding fathers of Art History, here discusses the problem of the Arch of Constantine, whose form and artwork is at odds with the artwork of the era of Constantine.

These two volumes present a new and comprehensive theory concerning the manner in which landscapes in Western pictorial art may be interpreted in relation to the cultures that created them. Its point of departure is a hitherto unexplored developmental pattern that characterises landscape representation from Palaeolithic cave paintings through to 19th-century modernity. A structuralist comparison between this pattern and three additional fields of analysis -- self-consciousness, socially-determined perception of nature, and world picture -- reveals a fascinating insight into culture's macrohistorical organisation. Controversially, this book argues that culture at a certain level of observation is marked by directional evolution. In Volume I the author traces the pictorial depth of field from its Palaeolithic beginnings, in which only separate bodies are portrayed, and on to antiquity and the Middle Ages with their quasi-perspectival vistas. This gradual accentuation of a viewpoint is interpreted as a sign of how self-consciousness -- the notion of an T detached from nature -- develops. Similarly, the raw rocky terrain and vividly coloured skies that are introduced in ancient and medieval landscape images are taken as a testimony of how cosmos splits into a chaotic Mother Earth and an indestructible masculine heaven. Finally, Volume I demonstrates that the ancient landscape images' exclusion of traces of cultivation (e.g. fields, roads, hedges, fences) is the result of work-shyness, a longing for the Golden Age, among the powers-that-be. The topic of Volume II is the breakthrough of the modern landscape image and its new perspectival vistas, transient time and cultivated - or completely deserted - terrains. This post-medieval paradigm shift is construed as the mature stage in the evolution of self-consciousness, with an urban individual contemplating nature at an aesthetic distance. Apart from being structurally equivalent with the new Copernican cosmos and the colonial expansion of Western culture, the new territorial landscape image is shown to develop in close interaction with the early modern work ethic, republicanism and capitalism. It is also demonstrated that this landscape image is at odds with the idealising Italian Renaissance vision, a conflict condensed in the imagery of strangely artificial rock formations.

Few lives provide as much history or drama as those of monarchs. Filmmakers from the silent era to onward have displayed a deep fascination with the lives of royalty and with queens in particular. Still, the question remains: what do these films really tell us about the women beneath the crowns? Drawing on films from the 1930s to those of today, Royal Portraits in Hollywood: Filming the Lives of Queens investigates the ways in which these films reproduce history and represent women. Though hardly progressive in nature, many early films offered an acceptable, nonthreatening way to present strong female characters in an economic and social landscape run almost exclusively by men. Authors Elizabeth Ford and Deborah Mitchell track the evolution of queens on film, noting how depictions of prominent women have changed over the past several decades and calling attention to the ways in which films both reflect and dictate the social norms of their eras.By comparing historical records of monarchs such as Queen Christina of Sweden, Catherine the Great, Cleopatra, and Elizabeth I with their onscreen personas, and examining the biographical details of the actresses who portrayed these women, Ford and Mitchell present a fascinating inquiry into issues of historical accuracy and gender politics in film.