| Abstract: |
Prof Toynbee herself contributes an article on Greek mythology as used in Roman numismatics (3-20). M Robertson offers an appreciation of the dedicatee. On sculpture, E J Phillips (35-49) argues that, at its best, RB popular sculpture brought a fresh vitality to the classical tradition by simplifying and varying its rules, while T F C Blagg (51-73) identifies regional schools of stonemasons by studying roof finials, table tops, and column bases and capitals. J Liversidge (75-103) discusses recent work on RB paintings from sites like Cirencester, Winchester, the Hertfordshire villas, the northern villas and the military sites. The mythological figures and scenes of RB mosaics are classified by D J Smith (105-93) with an index of sites and subjects. The newly defined Central Southern group of mosaics is D E Johnston's subject (195-215); a subjective linking of apparently significant similarities in design is combined with a more objective cluster analysis using twenty-three recurrent features. Tradition and innovation in the coinage of Carausius and Allectus are discussed by J Casey (217-29), while G Lloyd-Morgan studies the mirrors of Roman Britain as indicators of style, taste and trade (231-52). Dom Perring (253-82) considers stylistic trends in RB pottery decoration, especially face- and head-pots and barbotine ware. The degree of Romanization in small towns, as expressed in portable and non-portable art found there, is studied by Martin Millett (283-95) who takes into account factors like the provision of town walls, military origins, and religious beliefs. Still on religion, Miranda Green writes on the role of divine animals in RB cult art - theriomorphism (297-326). M W C Hassall (327-40) considers the Hutcheson Hill distance slab in relation to the identity of Wingless Victories in Roman art, while M Henig (341-6) discusses adaptations of traditional figure types to gemstones and stresses the value of these as evidence for both art and religion; he also considers (347-66) funerary symbolism in daily life with its 'striking and attractive imagery'. More symbols, this time of eggs and pomegranates appearing on hairpins, are treated by Paul Arthur (367-74). Sculptures of Roman London, and the iconoclasm to which they were subjected, are described by R Merrifield (375-406) with a postscript on the 1977 find of a hunter statue under Southwark Cathedral's crypt. The alleged relationship between RB mosaics and the carpet pages of later illuminated insular manuscripts is explored with scepticism by R Reece (407-13). Finally, J Munby provides a historical treatment of the archaeology of Roman Britain from 1660-1730 (415-36). |
