Barbaric Splendour

This book comprises a collection of essays comparing late Iron Age and Early Medieval art. Fundamentally, the book asks what making images meant on the fringe of the expanding or contracting Roman empire, particularly as the art from both periods drew heavily from - but radically transformed - imper...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Martin, Toby F.
Otros Autores: Morrison, Wendy
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Oxford : Archaeopress, 2020.
Temas:
Art, Celtic > Roman influences.
Art, Prehistoric > Europe, Northern.
Art, Celtic > Roman influences
Art, Prehistoric
Northern Europe
Acceso en línea:Texto completo
Tabla de Contenidos:
  • Cover
  • Title Page
  • Copyright Information
  • Contents
  • List of Figures
  • In the eye of the dragon: how the ancient Celts viewed the world
  • Figure 2.1. Roissy (Val-d'Oise), "La Fosse Cotheret", chariot grave 1002. Yoke fitting. Bronze. 3rd century BC. Saint-Germain-en-Laye, National Museum of Archaeology (Copyright V. Go, MAN).
  • Figure 2.2 Roissy (Val-d'Oise), "La Fosse Cotheret", chariot grave 1002. Dragons 'dome'. Bronze. 3rd century BC. Saint-Germain-en-Laye, National Museum of Archaeology (Copyright V. Go, MAN).
  • Figure 2.3. Cuperly (Marne), unknown chariot grave. Horse disc. Bronze. 4th century BC. Saint-Germain-en-Laye, National Museum of Archaeology (Copyright T. Le Mage, RMN).
  • Figure 2.4. Eberdingen-Hochdorf (Baden-Wurttemberg, Germany). The wagon on the back of the kliné. Bronze. 6th century BC (in Biel, J. Der Keltenfürst von Hochdorf, Theiss, 1986).
  • Figure 2.5. Cuperly (Marne), unknown chariot grave. Horse disc. Bronze. 4th century BC. Saint-Germain-en-Laye, National Museum of Archaeology (Copyright T. Le Mage, RMN).
  • Figure 2.6 . Thuisy (Marne). Painted vessel. Pottery. 4th century BC. Saint-Germain-en-Laye, National Museum of Archaeology (Copyright T. Le Mage, RMN).
  • Figure 2.7 . Paris (Seine). Yoke fitting. Bronze. 3rd century BC. Saint-Germain-en-Laye, National Museum of Archaeology (Copy -right T. Le Mage, RMN).
  • Figure 2.8 . Celtic coins. Gold and silver. 2nd and 1st century BC. Paris, Cabinet des Médailles de la Bibliothèque nationale (in L. Lengyel, L'Art gaulois dans les médailles, Corvina, 1954).
  • Variations on a theme? Examining the repetition of patterns on British Iron Age art
  • Figure 3.1. The Desborough Mirror (© Trustees of the British Museum).
  • Figure 3.2. Sequence of mirror design with the positive (top) and negative (bottom) motifs found on mirror backs (drawn by J. Joy).
  • Figure 3.3. Mirror design outlines (drawn by J. Joy).
  • Figure 3.4 . Horse harness mount from Santon, Suffolk using lyre loop framework (© Museum of Archaeology and Anthropology, Cambridge).
  • Figure 3.5. The 'Oxfordshire' (left) and Pegsdon (right) mirrors (© Oxfordshire Museums and the Portable Antiquities Scheme).
  • Figure 3.6 . The potential stages (labelled A-L) in the construction of the design on the back of the mirror from Birdlip, Gloucestershire (drawn by J. Joy).
  • Changing perspectives in southwest Norwegian Style I
  • Figure 4.1 . (a) Head plate of relief brooch from Høyland (Farsund, Vest-Agder). Enlarged. Half frontal view (right) and side view (left). Photo: University Museum of Bergen ©
  • (b) Detail from the relief brooch from Sande showing the nose at an angle sugg

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