The condemnation of memory inexorably altered the visual landscape of imperial Rome. Representations of 'bad' emperors, such as Caligula, Nero, Domitian, Commodus, or Elagabalus were routinely reconfigured into likenesses of victorious successors or revered predecessors. Alternatively, portraits could be physically attacked and mutilated or even executed in effigy. From the late first century B.C. until the fourth century A.D., the recycling and destruction of images of emperors, empresses, and other members of the imperial family occurred on a vast scale and often marked periods of violent political transition. This volume catalogues and interprets the sculptural, glyptic, numismatic and epigraphic evidence for damnatio memoriae and ultimately reveals its praxis to be at the core of Roman cultural identity.

The Villanovan and Etruscan collections of the Detroit Institute of Arts not only represent an important source of Classical Antiquity in the United States, but also serve as a historical model of how such artifacts were acquired by large American museums from the late-nineteenth through mid-twentieth centuries. These collections provide museum visitors, scholars, and students with an indepth view into one of antiquity's most fascinating peoples, the Etruscans and their predecessors. The wide-ranging collections contain artifacts from every aspect of Etruscan life such as utilitarian tools and weapons, objects for personal adornment, votive statuettes, and cinerary urns to house the dead. One statuette, the Detroit Rider, is considered to be among the finest surviving examples of Etruscan small sculpture. The catalogue brings together all of these pieces for the first time with photographs and relevant bibliographic sources on their cultural and religious functions in antiquity.

This catalogue raisonné describes a little-known but very interesting collection originally assembled by one of the important Canadian collectors of the early 20th century. After an account of the collection's history and a brief discussion of the techniques of ancient glass-making, the catalogue proper presents 191 pieces comprising a very wide range of typical forms, each of them fully illustrated. Publishing this extensive collection renders it available to a wide readership: students, curators, archaeologists, art historians, collectors and everybody with serious interest in the material culture of the ancient world. It is the first of a series intended to make public the different parts of the museum's collection of Mediterranean antiquities.

In five chapters this volume 1) offers new evidence for the form, date, and meaning of an Archaic rupestral horos of Zeus on the Hill of the Nymphs in Athens, 2) reports and interprets for the first time many rock cuttings as remnants of the shrine of Zeus implied by the horos inscription, 3) argues from scattered artifacts of Zeus found in central and western Athens and from comparative archaeological evidence that this shrine was devoted primarily to the popular cult of Zeus Meilichios, 4) presents evidence and arguments that other deities, including Herakles Alexikakos, were worshipped at this shrine, and 5) summarizes the chronology of this cult and shrine in their historical and topographical contexts. An Appendix assembles all the testimonia to Zeus Meilichios in Attica.

In five chapters this volume 1) offers new evidence for the form, date, and meaning of an Archaic rupestral horos of Zeus on the Hill of the Nymphs in Athens, 2) reports and interprets for the first time many rock cuttings as remnants of the shrine of Zeus implied by the horos inscription, 3) argues from scattered artifacts of Zeus found in central and western Athens and from comparative archaeological evidence that this shrine was devoted primarily to the popular cult of Zeus Meilichios, 4) presents evidence and arguments that other deities, including Herakles Alexikakos, were worshipped at this shrine, and 5) summarizes the chronology of this cult and shrine in their historical and topographical contexts. An Appendix assembles all the testimonia to Zeus Meilichios in Attica.