Christopher H Hallett
Biographic Data
| ID | 1164353 |
|---|---|
| NAME | Christopher H Hallett |
| GIVEN NAMES | Christopher H |
| FAMILY NAME | Hallett |
| SIGNATURE | HALLETT C H |
| AFFILIATIONS | University of California, Berkeley |
| VERIFIED | No |
| TOTAL WORKS | 26 |
| TOTAL CITATIONS | 43 |
| WORKS AS AUTHOR | 26 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
The Wood Comes to the City
The Wood Comes to the City: Ancient Trees, Sacred Groves, and the Greening of Early Augustan Rome
Troilos and Achilles
A remarkable blue-grey marble horse with a white marble rider, found in the Basilica at Aphrodisias, has been a focus of recent research. The article describes the archaeology and history of the monument — how it can be reconstructed, with its base and in its precise setting in the Basilica. The group was a daring composition that had already fallen and been restored once in antiquity. What emerges is firstly a new full-size hellenistic-style sta…
Scale Armour in Roman Art and Literature
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Flavian (and later) Cuirassed Portraits Added to Pre-existing Julio-Claudian Portrait Groups
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Portrait venatorio habitu from the Tomb of Claudia Semne
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Two Cuirassed Portraits from the Temple of Mithradates Eupator on Delos
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Previous Studies of the Subject
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The toga picta as Worn by Portraits of Roman Magistrates
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Nude Portrait under the Empire
The aim of this chapter is to determine the function and meaning of the portrait in heroic costume under the empire. Since the extant material for this period is so abundant, the kind of comprehensive treatment attempted in the previous chapter is not possible. Instead a different method is followed: in the first part of the chapter a broad historical survey is offered of the various kinds of nude portrait found in the imperial period, making use…
The Use of the Aegis in Imperial Portraiture in Cameos and Major Statuary
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Further Known (or Suspected) Galleries of Multiple Portraits of a Single Individual
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Nudity and Divine Symbols
The portraits of women in the guise of goddesses (Pls. 123–4) actually return us to a controversial issue which we have skirted a number of times already, but which now needs to be squarely faced. In the last chapter we attempted to explain why it was that Romans chose to have themselves represented in heroic costume (nude and carrying weapons). But a question of equal importance still remains to be asked. What did it mean when nude portraits wer…
The Cloak Worn by Portraits in Heroic Costume
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Return of Military Imagery to Imperial Iconography after its Renunciation by Augustus
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Attitudes towards Nudity at Rome
Romans, like all the other peoples of the ancient world apart from the Greeks, had a strong taboo against being seen naked in public, and this seems to have persisted throughout their long history. Under the empire, with the increasing popularity of the public baths, nudity gradually became more acceptable—at least for men, although probably only while they were actually bathing. Outside the baths, on the other hand, to appear nude in public rema…
Understanding the Roman Nude
In the introduction to this book I noted that Roman nude portraits have in the past received surprisingly little attention. I also quoted a few choice descriptions of these works from earlier scholarship, in order to illustrate the strong antipathy generally felt towards these images by art historians. But the feeling that these portrait statues are somehow ‘problematic’, or ‘incongruous’, is not confined to specialists; it is experienced by expe…
The Roman Adoption of the Nude Portrait
This chapter seeks to reconstruct the historical circumstances in which leading Romans of the late Republic took over for themselves the Greek convention of the portrait in ‘heroic costume’. We begin with a brief review of the earliest known cases in which Romans (or Italians) are so portrayed.
The Nude Portrait in Greek Art
The best evidence for the development of ‘portrait costumes’ in Greek art is found in funerary monuments, in the large corpus of Attic grave stelai of the fourth century BC. Here we find Athenian men, identified by name, depicted in three distinct guises: wearing the himation (the Greek civic cloak); in military uniform and carrying weapons; or shown naked with athletic equipment. All three kinds of representation had been appearing on Greek grav…
The Larger Cloak Worn by Some Imperial Hip-Mantle Portraits
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Greek Background
In Greek art men are very often shown nude, while women are almost always clothed; and this remarkable distinction finds a clear parallel in Greek life. Greek men were often seen naked in public—at least in certain contexts: they bathed together, excercised together, and engaged in sport together naked; while Greek women were at all times expected to be respectably covered. These two circumstances are obviously connected; but the connection betwe…
Title Pages
Two Portraits in Heroic Costume Identified as Pompeius Magnus
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Roman Nude
Statues of important Romans frequently represented them nude. Men were portrayed naked holding weapons - the naked emperor might wield the thunderbolt of Jupiter - while Roman women assumed the guise of the nude love-goddess, Venus. When faced with these strange images, modern viewers are usually unsympathetic, finding them incongruous, even tasteless. They are mostly written off as just another example of Roman `bad taste'. This book offers a ne…
Response to R. Tybout “Roman wall-painting and social significance”
In his article in this issue, R. Tybout has some harsh words (38-39) for an article by S. Yerkes published in JRA 13. T.'s reaction seems to involve not so much a scholarly disagreement as a major misunderstanding of Yerkes' paper. I would like to offer a brief corrective to his comments. T. seems under the impression that the identification of Vitruvius' monstra is the main — or only — point of Yerkes' essay. This is probably because of the titl…
A Group of Portrait Statues from the Civic Center of Aphrodisias
This paper offers the first full publication of a group of four marble portrait statues found in 1972 just to the east of the Bouleuterion at Aphrodisias. The statues are all worked to a uniform scale, though they represent figures of differing ages and heights. The group comprises an adult male figure in armor, another wearing civic costume, a youth wearing only a cloak drawn around his hips, and a young boy swathed in a thick mantle. All four f…
The Roman Nude
Statues of important Romans frequently represented them nude. Men were portrayed naked holding weapons - the naked emperor might wield the thunderbolt of Jupiter - while Roman women assumed the guise of the nude love-goddess, Venus. When faced with these strange images, modern viewers are usually unsympathetic, finding them incongruous, even tasteless. They are mostly written off as just another example of Roman `bad taste'. This book offers a ne…
A Group of Portrait Statues from the Civic Center of Aphrodisias
This paper offers the first full publication of a group of four marble portrait statues found in 1972 just to the east of the Bouleuterion at Aphrodisias. The statues are all worked to a uniform scale, though they represent figures of differing ages and heights. The group comprises an adult male figure in armor, another wearing civic costume, a youth wearing only a cloak drawn around his hips, and a young boy swathed in a thick mantle. All four f…
Troilos and Achilles
A remarkable blue-grey marble horse with a white marble rider, found in the Basilica at Aphrodisias, has been a focus of recent research. The article describes the archaeology and history of the monument — how it can be reconstructed, with its base and in its precise setting in the Basilica. The group was a daring composition that had already fallen and been restored once in antiquity. What emerges is firstly a new full-size hellenistic-style sta…
The East Tomb and other Tomb Buildings at Balboura
To the north east of Balboura, on the far side of the stream-bed, lie the ruins of an imposing tomb (see Fig. 1), the largest and most elaborate so far discovered in the area. Built directly on and partly into the hillside, the building was oriented to look straight across the valley towards the city (orientation: 27° E of true north—see Fig. 2; i.e. the tomb faces approx. SSW); and apparently it stood in splendid isolation, at some distance from…
The East Tomb and other Tomb Buildings at Balboura
To the north east of Balboura, on the far side of the stream-bed, lie the ruins of an imposing tomb (see Fig. 1), the largest and most elaborate so far discovered in the area. Built directly on and partly into the hillside, the building was oriented to look straight across the valley towards the city (orientation: 27° E of true north—see Fig. 2; i.e. the tomb faces approx. SSW); and apparently it stood in splendid isolation, at some distance from…
A Group of Portrait Statues from the Civic Center of Aphrodisias
This paper offers the first full publication of a group of four marble portrait statues found in 1972 just to the east of the Bouleuterion at Aphrodisias. The statues are all worked to a uniform scale, though they represent figures of differing ages and heights. The group comprises an adult male figure in armor, another wearing civic costume, a youth wearing only a cloak drawn around his hips, and a young boy swathed in a thick mantle. All four f…
Response to R. Tybout “Roman wall-painting and social significance”
In his article in this issue, R. Tybout has some harsh words (38-39) for an article by S. Yerkes published in JRA 13. T.'s reaction seems to involve not so much a scholarly disagreement as a major misunderstanding of Yerkes' paper. I would like to offer a brief corrective to his comments. T. seems under the impression that the identification of Vitruvius' monstra is the main — or only — point of Yerkes' essay. This is probably because of the titl…
Scale Armour in Roman Art and Literature
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Flavian (and later) Cuirassed Portraits Added to Pre-existing Julio-Claudian Portrait Groups
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Portrait venatorio habitu from the Tomb of Claudia Semne
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Two Cuirassed Portraits from the Temple of Mithradates Eupator on Delos
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Previous Studies of the Subject
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The toga picta as Worn by Portraits of Roman Magistrates
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Nude Portrait under the Empire
The aim of this chapter is to determine the function and meaning of the portrait in heroic costume under the empire. Since the extant material for this period is so abundant, the kind of comprehensive treatment attempted in the previous chapter is not possible. Instead a different method is followed: in the first part of the chapter a broad historical survey is offered of the various kinds of nude portrait found in the imperial period, making use…
The Use of the Aegis in Imperial Portraiture in Cameos and Major Statuary
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Further Known (or Suspected) Galleries of Multiple Portraits of a Single Individual
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Nudity and Divine Symbols
The portraits of women in the guise of goddesses (Pls. 123–4) actually return us to a controversial issue which we have skirted a number of times already, but which now needs to be squarely faced. In the last chapter we attempted to explain why it was that Romans chose to have themselves represented in heroic costume (nude and carrying weapons). But a question of equal importance still remains to be asked. What did it mean when nude portraits wer…
The Cloak Worn by Portraits in Heroic Costume
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Return of Military Imagery to Imperial Iconography after its Renunciation by Augustus
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
Attitudes towards Nudity at Rome
Romans, like all the other peoples of the ancient world apart from the Greeks, had a strong taboo against being seen naked in public, and this seems to have persisted throughout their long history. Under the empire, with the increasing popularity of the public baths, nudity gradually became more acceptable—at least for men, although probably only while they were actually bathing. Outside the baths, on the other hand, to appear nude in public rema…
Understanding the Roman Nude
In the introduction to this book I noted that Roman nude portraits have in the past received surprisingly little attention. I also quoted a few choice descriptions of these works from earlier scholarship, in order to illustrate the strong antipathy generally felt towards these images by art historians. But the feeling that these portrait statues are somehow ‘problematic’, or ‘incongruous’, is not confined to specialists; it is experienced by expe…
The Roman Adoption of the Nude Portrait
This chapter seeks to reconstruct the historical circumstances in which leading Romans of the late Republic took over for themselves the Greek convention of the portrait in ‘heroic costume’. We begin with a brief review of the earliest known cases in which Romans (or Italians) are so portrayed.
The Nude Portrait in Greek Art
The best evidence for the development of ‘portrait costumes’ in Greek art is found in funerary monuments, in the large corpus of Attic grave stelai of the fourth century BC. Here we find Athenian men, identified by name, depicted in three distinct guises: wearing the himation (the Greek civic cloak); in military uniform and carrying weapons; or shown naked with athletic equipment. All three kinds of representation had been appearing on Greek grav…
The Larger Cloak Worn by Some Imperial Hip-Mantle Portraits
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Greek Background
In Greek art men are very often shown nude, while women are almost always clothed; and this remarkable distinction finds a clear parallel in Greek life. Greek men were often seen naked in public—at least in certain contexts: they bathed together, excercised together, and engaged in sport together naked; while Greek women were at all times expected to be respectably covered. These two circumstances are obviously connected; but the connection betwe…
Title Pages
Two Portraits in Heroic Costume Identified as Pompeius Magnus
Subject Ancient Roman History Classical Studies Classical Art and Architecture Collection: Oxford Scholarship Online
The Roman Nude
Statues of important Romans frequently represented them nude. Men were portrayed naked holding weapons - the naked emperor might wield the thunderbolt of Jupiter - while Roman women assumed the guise of the nude love-goddess, Venus. When faced with these strange images, modern viewers are usually unsympathetic, finding them incongruous, even tasteless. They are mostly written off as just another example of Roman `bad taste'. This book offers a ne…
Troilos and Achilles
A remarkable blue-grey marble horse with a white marble rider, found in the Basilica at Aphrodisias, has been a focus of recent research. The article describes the archaeology and history of the monument — how it can be reconstructed, with its base and in its precise setting in the Basilica. The group was a daring composition that had already fallen and been restored once in antiquity. What emerges is firstly a new full-size hellenistic-style sta…
Art (24 works) · Classical Antiquity Studies (19 works) · Art history (17 works) · History (17 works) · Portrait (14 works) · Ancient Mediterranean Archaeology and History (10 works) · Law (10 works) · Computer Science (9 works) · Ancient history (8 works) · Political science (8 works)