By Martin Henig
With the aid of over a hundred illustrations, lots of them little recognized, Martin Henig indicates that the paintings produced in Britannia--particularly within the golden age of past due Antiquity--rivals that of alternative provinces and merits comparability with the artwork of metropolitan Rome. The originality and breadth of Henig's examine is proven by means of its systematic insurance, embracing either the foremost arts--stone and bronze statuary, wall-painting and mosaics--and such utilized arts as jewelery-making, silversmithing, furnishings layout, determine pottery, collectible figurines and appliques. the writer explains how many of the workshops have been prepared, the half performed through patronage and the alterations that happened within the fourth century.
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Additional info for The Art of Roman Britain
Cokhester and Essex Museum. E. 14 It very probably belongs to the postBoudican reconstruction, but the style of the letter and the use of an imported material point to an early date. We can guess at the language of the inscription, possibly, like the arch, commemorating the prowess of the Emperor in adding Britain to the Empire. Colchester must have been full of enormous monumental inscriptions from which the Britons would learn to read—and at the same time to read of the triumph of the Roman legions.
There is no dating evidence for either bronze although both show familiarity with Roman naturalism. The ‘carnassier 38 ART IN THE ERA OF THE CONQUEST 19 Bronze Venus figurine from the temple at Henley Wood, Yatton, Somerset. 5cm. ) those on the Marlborough bucket, as is, again, especially manifest in the treatment of hair. 50 Figures in the round were rarer but the Aust-bySevern and Henley Wood (see 19) figurines gave rise to the likes of the deities in the Southbroom (Devizes) cache, at least those figurines of deities which survive and are preserved in the British Museum.
Brighton Museum. ) surprisingly assured, but the smith was not constrained by the demands of naturalism. Large recessed eyesockets were probably intended to take glass settings, as in the cases of other early bronzes including the Duncliffe Hill (Dorset) boar and the Aust-by-Severn and Henley Wood ‘Venus’ figurines (19), all assuredly of Iron Age date. The stag has a shaggy mane, allowing full scope for the smith to explore pattern and texture. This mannerism has more to do with artistic caprice than with study of an actual animal; it is a feature the stag shares with a very different beast: a terrifying ithyphallic, wolf-like monster engaged in eating a man, found near Oxford (perhaps at the temple site of Woodeaton) where a prominent mane runs the length of the creature’s spine.