Glenys Davies
Biographic Data
| ID | 3622918 |
|---|---|
| NAME | Glenys Davies |
| GIVEN NAMES | Glenys |
| FAMILY NAME | Davies |
| SIGNATURE | DAVIES G |
| AFFILIATIONS | Institute of History and Archaeology |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 18 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1985 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 1 |
What Made the Roman Toga virilis
Honorific vs. Funerary Statues of Women
Draped standing statues of women who were not members of the imperial family were, broadly speaking, erected in one of two contexts: honorific statues might be placed in one of the public areas of the town, and funerary statues would decorate a tomb or grave monument outside the town. Many of these statues conform to a specific statue body type. The chapter explores whether the body types used for statues of women in the two contexts the same or …
Roman Hospitality
Enhancing by Inscription in the Late Eighteenth Century
The Divine Rider in the Art of the Western Roman Empire
The numerous portrayals of gods and humans on horseback which occur in Graeco-Roman art may appear to the unaccustomed eye to have many variations but, according to Mackintosh, are in fact based on a few stock images, which could be manipulated to fit the occasion. In this thorough study, she approaches the questions of how and where the genre first arose in art, how ot developed as it was adapted' by subsequebt artists and how, in particular, im…
Polytheistic Systems
Roman Cineraria in ‘Monumenta Mattheiana’ and the Collection of Henry Blundell at Ince
Many of the ash chests collected by Henry Blundell for Ince Blundell Hall (Lancashire) came from the Mattei collection. By comparing the engravings in Monumenta Mattheiana (1778) with those published in 1803 by Blundell we can see what restorations and other changes were carried out between these dates. However, in one respect these changes are not as radical as it might seem, since apparent changes to the inscriptions are in fact merely the resu…
The Significance of the Handshake Motif in Classical Funerary Art
The handshake motif was widely used by Greek, Etruscan and Roman artists in both funerary and non-funerary contexts. This article aims to give a general survey of the motif from Archaic Greece to the late Roman Empire, looking especially at the continuity of its use. The principal aim is to elucidate its meaning in funerary contexts, but to do so its appearance in non-funerary contexts is also considered. Throughout the period considered the hand…
The Significance of the Handshake Motif in Classical Funerary Art
The handshake motif was widely used by Greek, Etruscan and Roman artists in both funerary and non-funerary contexts. This article aims to give a general survey of the motif from Archaic Greece to the late Roman Empire, looking especially at the continuity of its use. The principal aim is to elucidate its meaning in funerary contexts, but to do so its appearance in non-funerary contexts is also considered. Throughout the period considered the hand…
Enhancing by Inscription in the Late Eighteenth Century
The Divine Rider in the Art of the Western Roman Empire
The numerous portrayals of gods and humans on horseback which occur in Graeco-Roman art may appear to the unaccustomed eye to have many variations but, according to Mackintosh, are in fact based on a few stock images, which could be manipulated to fit the occasion. In this thorough study, she approaches the questions of how and where the genre first arose in art, how ot developed as it was adapted' by subsequebt artists and how, in particular, im…
The Significance of the Handshake Motif in Classical Funerary Art
The handshake motif was widely used by Greek, Etruscan and Roman artists in both funerary and non-funerary contexts. This article aims to give a general survey of the motif from Archaic Greece to the late Roman Empire, looking especially at the continuity of its use. The principal aim is to elucidate its meaning in funerary contexts, but to do so its appearance in non-funerary contexts is also considered. Throughout the period considered the hand…
Roman Cineraria in ‘Monumenta Mattheiana’ and the Collection of Henry Blundell at Ince
Many of the ash chests collected by Henry Blundell for Ince Blundell Hall (Lancashire) came from the Mattei collection. By comparing the engravings in Monumenta Mattheiana (1778) with those published in 1803 by Blundell we can see what restorations and other changes were carried out between these dates. However, in one respect these changes are not as radical as it might seem, since apparent changes to the inscriptions are in fact merely the resu…
Polytheistic Systems
The Divine Rider in the Art of the Western Roman Empire
The numerous portrayals of gods and humans on horseback which occur in Graeco-Roman art may appear to the unaccustomed eye to have many variations but, according to Mackintosh, are in fact based on a few stock images, which could be manipulated to fit the occasion. In this thorough study, she approaches the questions of how and where the genre first arose in art, how ot developed as it was adapted' by subsequebt artists and how, in particular, im…
Enhancing by Inscription in the Late Eighteenth Century
Roman Hospitality
Honorific vs. Funerary Statues of Women
Draped standing statues of women who were not members of the imperial family were, broadly speaking, erected in one of two contexts: honorific statues might be placed in one of the public areas of the town, and funerary statues would decorate a tomb or grave monument outside the town. Many of these statues conform to a specific statue body type. The chapter explores whether the body types used for statues of women in the two contexts the same or …
What Made the Roman Toga virilis
History (6 works) · Art (5 works) · Classical Antiquity Studies (4 works) · History (4 works) · Ancient history (2 works) · Ancient Mediterranean Archaeology and History (2 works) · Art history (2 works) · Classics (2 works) · Classics (2 works) · Computer Science (2 works)