The eighth and seventh centuries BCE were a time of flourishing exchange between the Mediterranean and the Near East. One of the period’s key imports to the Hellenic and Italic worlds was the image of the griffin, a mythical monster that usually possesses the body of a lion and the head of an eagle. In particular, bronze cauldrons bore griffin protomes—figurative attachments showing the neck and head of the beast. Crafted in fine detail, the protomes were made to appear full of vigor, transfixing viewers. Bronze Monsters and the Cultures of Wonder takes griffin cauldrons as case studies in the shifting material and visual universes of preclassical antiquity, arguing that they were perceived as lifelike monsters that introduced the illusion of verisimilitude to Mediterranean arts. The objects were placed in the tombs of the wealthy (Italy, Cyprus) and in sanctuaries (Greece), creating fantastical environments akin to later cabinets of curiosities. Yet griffin cauldrons were accessible only to elites, ensuring that the new experience of visuality they fostered was itself a symbol of status. Focusing on the sensory encounter of this new visuality, Nassos Papalexandrou shows how spaces made wondrous fostered novel subjectivities and social distinctions.

The eighth and seventh centuries BCE were a time of flourishing exchange between the Mediterranean and the Near East. One of the period’s key imports to the Hellenic and Italic worlds was the image of the griffin, a mythical monster that usually possesses the body of a lion and the head of an eagle. In particular, bronze cauldrons bore griffin protomes—figurative attachments showing the neck and head of the beast. Crafted in fine detail, the protomes were made to appear full of vigor, transfixing viewers. Bronze Monsters and the Cultures of Wonder takes griffin cauldrons as case studies in the shifting material and visual universes of pre-classical antiquity, arguing that they were perceived as lifelike monsters that introduced the illusion of verisimilitude to Mediterranean arts. The objects were placed in the tombs of the wealthy (Italy, Cyprus) and in sanctuaries (Greece), creating fantastical environments akin to later cabinets of curiosities. Yet griffin cauldrons were accessible only to elites, ensuring that the new experience of visuality they fostered was itself a symbol of status. Focusing on the sensory encounter of this new visuality, Nassos Papalexandrou shows how spaces made wondrous fostered novel subjectivities and social distinctions.

""The marvelous follows us always" - or so the Italian philosopher Francesco Patrizi asserted in 1587. The essays in this book collectively make the case that this assertion could be an epigraph for the Renaissance. For Wonder was a concept absolutely central to the early modern period. Encompassing both inquiry and astonishment, "wonder" indeed followed the Renaissance everywhere - into redefinitions of the mind, the body, art, literature, the known world. Often called the age of discovery, the Renaissance should also be seen as the age of the marvelous." "However, defining just what la maraviglia would have meant for Patrizi and his age is no small task." "This volume, then, seeks to explore early modern views of wonder and the marvelous by revealing the complexity of la maraviglia in the Renaissance."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Explores trans-Mediterranean connections between peoples, cultures, and artistic traditions traditionally marginalized by Graeco-Roman bias.

Byzantine Media Subjects invites readers into a world replete with images—icons, frescoes, and mosaics filling places of worship, politics, and community. Glenn Peers asks readers to think themselves into a world where representation reigned and humans followed, and indeed were formed. Interrogating the fundamental role of representation in the making of the Byzantine human, Peers argues that Byzantine culture was (already) posthuman. The Byzantine experience reveals the extent to which media like icons, manuscripts, music, animals, and mirrors fundamentally determine humans. In the Byzantine world, representation as such was deeply persuasive, even coercive; it had the power to affect human relationships, produce conflict, and form self-perception. Media studies has made its subject the modern world, but this book argues for media having made historical subjects. Here, it is shown that media long ago also made Byzantine humans, defining them, molding them, mediating their relationship to time, to nature, to God, and to themselves.

In the past, most studies on Pre-Roman societies in Italy (1st millennium BCE) focused on the elites, their representation and cultural contacts. The aim of this volume is to look at dependent and marginalized social groups, which are less visible and often even difficult to define (slaves, servants, freedmen, captives, 'foreigners', athletes, women, children etc.). The methodological challenges connected to the study of such heterogeneous and scattered sources are addressed. Is the evidence representative enough for defining different forms of dependencies? Can we rely on written and pictorial sources or do they only reflect Greek and Roman views and iconographic conventions? Which social groups can't be traced in the literary and archaeological record? For the investigation of this topic, we combined historical and epigraphical studies (Greek and Roman literary sources, Etruscan inscriptions) with material culture studies (images, sanctuaries, necropoleis) including anthropological and bioarchaeological methods. These new insights open a new chapter in the study of dependency and social inequality in the societies of Pre-Roman Italy.

Feathered with illustrations, a deep dive into the meaning of this half-lion, half-bird creature over millennia of human history. Griffinology is a fascinating exploration of the mythical creature’s many depictions in human culture. Drawing on a wealth of historical and literary sources, this book shows how the griffin has captured the imagination of people for over five thousand years, representing power, transcendence, and even divinity. It explores the history and symbolism of griffins in art, from their appearances in ancient Egyptian magic wands to medieval bestiaries, and from medieval coats of arms to modern corporate logos. The use of the griffin as a symbol of power and protection is surveyed throughout history and into modern times, such as in the Harry Potter series. Beautifully illustrated, this book should appeal to all those interested in monsters, magic, and the mystical, as well as art and history.

Richly-illustrated consideration of the meaning of the carvings of non-human beings, from centaurs to eagles, found in ecclesiastical settings. Representations of monsters and the monstrous are common in medieval art and architecture, from the grotesques in the borders of illuminated manuscripts to the symbol of the "green man", widespread in churches and cathedrals. These mysterious depictions are frequently interpreted as embodying or mitigating the fears symptomatic of a "dark age". This book, however, considers an alternative scenario: in what ways did monsters in twelfth-century sculpture help audiences envision, perhaps even achieve, various ambitions? Using examples of Romanesque sculpture from across Europe, with a focus on France and northern Portugal, the author suggests that medieval representations of monsterscould service ideals, whether intellectual, political, religious, and social, even as they could simultaneously articulate fears; he argues that their material presence energizes works of art in paradoxical, even contradictory ways. In this way, Romanesque monsters resist containment within modern interpretive categories and offer testimony to the density and nuance of the medieval imagination. KIRK AMBROSE is Associate Professor & Chair, Department of Art and Art History, University of Colorado Boulder.

Addressing fundamental problems in modern Western approaches to art, this bold, brilliant, and important book proposes a new and flexible conceptual framework for the understanding of art by replacing the notion of the "visual arts" with that of the "spatial arts." 350 illustrations.