Unrivalled location for the study of the ancient world thanks to London’s unique range of specialist libraries, museums and galleries. Accompanying the author's translations of a wide selection of Greek and Latin texts is an accessible, substantial bibliography, as well as an introduction, and explanatory commentary. Beautifully illustrated and comprehensive, this survey of ancient Greek art and archaeology is a clear and lively chronological narrative that takes readers through artistic developments in Greek culture from the Bronze Age to the Hellenistic kingdoms and the coming of Rome, emphasizing the diversity and cosmopolitan character of the Mediterranean over a span of two thousand years. If you live in the UK, you may be able to apply for a postgraduate loan from one of the UK’s governments. Mark Stansbury-O’Donnell, Steven Tuck, and Dimitris Plantzos deserve credit for providing respectable choices to instructors who want to provide their undergraduate students with a comprehensive view of Greek or Roman art and architecture in a one-semester course.

We learn about how art was made and used, and how it can offer a window into the changing social and cultural world of ancient Greece. We also accept a degree that has been taught and assessed in English from a university on our list of approved universities in non-majority English speaking countries (non-MESC). They all relate to the theme of sport, most have a religious rather than secular significance and they all stand as rare examples of their kind.The first problem confronting an instructor involves defining a clear plan for a course intended to offer a comprehensive view of a culture’s artistic production. Teaching a survey course whose objective is to offer undergraduates an overview of either Greek or Roman art in one semester is fraught with many challenges. It is this reviewer’s hope that their efforts to meld the standard comprehensive/chronological approach with cultural material can serve to stimulate a meaningful conversation about pedagogy and, possibly, serve as a catalyst for rethinking the traditional approach to offering traditional survey courses in ancient art.

Under the modern city, untouched for thousands of years, lay a wealth of artifacts and the remains of homes, market-places, and temples from ancient Athens. The third stage focuses on Delos, where one sees most clearly the early stages of cultural interaction between the Roman conqueror and a Hellenistic world still in the process of conquest. Why do the ancient Greeks occupy such a prominent place in conceptions of Western culture and identity? Since the very beginning this kind of depiction was interpreted by scholars differently and many hypothesis have already been drawn.

The Ancient Greeks have occupied a central role in modern imaginations of the history of the western world. While the monuments are, by and large, canonical, there are works that are probably unfamiliar to the average reader, such as the Archaic kouros from the Kerameikos Cemetery (Figs. However, while Stansbury-O’Donnell and Tuck have expended considerable effort in offering new perspectives on the traditional, linear approach that is so often the organizing principle in Greek and Roman survey texts, this reviewer does not believe that either author has succeeded as well as one would have hoped: in one work, there is too much; in the other, too little. P.224 – “The fourth century sculptor Lysippus was reputed to have made men as they are and not as they appear to be, as was the practice of earlier sculptors.