[1]
Adam, S. 1966. The Technique of Greek Sculpture in the Archaic and Classical Periods. Thames & Hudson.
[2]
Andronicos, M. 1984. Vergina: the royal tombs and the ancient city. Ekdotike Athenon S.A.
[3]
Ashmole, B. 1972. Architect and Sculptor in Classical Greece. Phaidon Press.
[4]
Ashmole, B. et al. 1967. Olympia: The Sculptures of the Temple of Zeus. Phaidon.
[5]
Bailey, D.M. and British Museum 2008. Catalogue of the Terracottas in the British Museum: Vol. IV: Ptolemaic and Roman Terracottas From Egypt. The British Museum Press.
[6]
Bartman, E. 1999. Portraits of Livia: imaging the imperial woman in Augustan Rome. Cambridge University Press.
[7]
Beard, M. and Henderson, J. 2001. Classical Art: From Greece to Rome. Oxford University Press.
[8]
Beazley, J.D. et al. 1986. The Development of Attic Black-Figure. University of California Press.
[9]
Beazley, J.D. 1974. The Kleophrades Painter. Von Zabern.
[10]
Beazley, J.D. 1974. The Pan Painter. Von Zabern.
[11]
Beck, H. et al. 1990. Polyklet: der Bildhauer der griechische Klassik : Ausstellung im Liebieghaus Museum alter Plastik Frankfurt am Main. Zabern.
[12]
Bieber, M. 1981. Sculpture of the Hellenistic Age.
[13]
Boardman, J. 1991. Athenian Black Figure Vases: A Handbook. Thames and Hudson.
[14]
Boardman, J. 1975. Athenian Red Figure Vases: The Archaic Period: A Handbook. Thames and Hudson.
[15]
Boardman, J. 1989. Athenian Red Figure Vases: The Classical Period: A Handbook. Thames and Hudson.
[16]
Boardman, J. 1998. Early Greek vase painting: 11th-6th centuries BC : a handbook / John Boardman. Thames and Hudson.
[17]
Boardman, J. 1996. Greek Art. Thames and Hudson.
[18]
Boardman, J. 1991. Greek Sculpture: The Archaic Period: A Handbook. Thames and Hudson.
[19]
Boardman, J. 1991. Greek Sculpture: The Classical Period: A Handbook. Thames and Hudson.
[20]
Boardman, J. 1995. Greek Sculpture: The Late Classical Period and Sculpture in Colonies and Overseas : A Handbook. Thames & Hudson.
[21]
Boardman, J. 1993. The Oxford History of Classical Art. Oxford University Press.
[22]
Boardman, J. and Finn, D. 1985. The Parthenon and Its Sculpture. Thames and Hudson.
[23]
Brijder, H.A.G. 1983. Siana Cups I and Komast Cups. Allard Pierson Museum.
[24]
Buitron-Oliver, D. and National Gallery of Art 1997. The Interpretation of Architectural Sculpture in Greece and Rome. National Gallery of Art.
[25]
Burford, A. 1972. Craftsmen in Greek and Roman society. Thames and Hudson.
[26]
Burn, L. 1987. The Meidias Painter. Clarendon.
[27]
Buschor, E. 1980. On the Meaning of Greek Statues. University of Massachusetts Press.
[28]
Busignani, A. 1981. The Bronzes of Riace. Sansoni; First Edition edition.
[29]
Carey, S. 2003. Pliny’s Catalogue of Culture: Art and Empire in the Natural History. Oxford University Press.
[30]
Carey, S. 2006. Pliny’s Catalogue of Culture: Art and Empire in the Natural History. Oxford University Press.
[31]
Carey, S. 2003. Pliny’s Catalogue of Culture: Art and Empire in the Natural History. Oxford University Press.
[32]
Carey, S. 2006. Pliny’s Catalogue of Culture: Art and Empire in the Natural History. Oxford University Press.
[33]
Carpenter, T.H. 1991. Art and Myth in Ancient Greece: A Handbook. Thames and Hudson.
[34]
Clairmont, C.W. 1970. Gravestone and Epigram: Greek Memorials From the Archaic and Classical Period. Von Zabern.
[35]
Clairmont, C.W. 1983. Patrios Nomos: Public Burial in Athens During the Fifth and Fourth Centuries B.C. : The Archaeological, Epigraphic-Literary and Historical Evidence. B.A.R.
[36]
Clarke, J.R. 2003. Art in the Lives of Ordinary Romans: Visual Representation and Non-Elite Viewers in Italy, 100 B.C.-A.D. 315. University of California Press.
[37]
Coldstream, J.N. 1968. Greek Geometric Pottery: A Survey of Ten Local Styles and Their Chronology. Methuen.
[38]
Conlin, D.A. 1997. The Artists of the Ara Pacis: The Process of Hellenization in Roman Relief Sculpture. University of North Carolina Press.
[39]
Connelly, J.B. 1996. Parthenon and Parthenoi: A Mythological Interpretation of the Parthenon Frieze. American Journal of Archaeology. 100, 1 (1996). DOI:https://doi.org/10.2307/506297.
[40]
Corso, A. 1991. The Cnidian Aphrodite. Sculptors and Sculpture of Caria and the Dodecanese. Published for the Trustees of the British Museum by the British Museum Press. 91–98.
[41]
Cuomo, S. 2007. Death and the Craftsman. Technology and culture in Greek and Roman antiquity. Cambridge University Press. 77–102.
[42]
Cuomo, S. 2007. Death and the Craftsman. Technology and culture in Greek and Roman antiquity. Cambridge University Press. 77–102.
[43]
D’Ambra, E. 1998. Art and Identity in the Roman World. Weidenfeld & Nicolson.
[44]
D’Ambra, E. 2000. Nudity and Adornment in Female Portrait Sculpture of the Second Century AD. I, Claudia II: Women in Roman Art and Society. University of Texas Press. 101–114.
[45]
D’Ambra, E. 1993. Private Lives, Imperial Virtues: The Frieze of the Forum Transitorium in Rome. Princeton University Press.
[46]
D’Ambra, E. 1998. Roman Art. Cambridge University Press.
[47]
D’Ambra, E. 1993. Roman Art in Context: An Anthology. Prentice Hall.
[48]
D’Ambra, E. 1996. The Calculus of Venus: Nude Portraits of Roman Matrons. Sexuality in ancient art. Cambridge University Press. 219–232.
[49]
D’Ambra, E. and Métraux, G.P.R. 2006. The Art of Citizens, Soldiers and Freedmen in the Roman World. Archaeopress.
[50]
Devambez, P. 1962. Greek Painting. Weidenfeld & Nicholson.
[51]
Dillon, S. 2000. Subject Selection and Viewer Reception of Greek Portraits from Herculaneum and Tivoli. Journal of Roman Archaeology. 13, (2000), 21–40. DOI:https://doi.org/10.1017/S1047759400018754.
[52]
Dillon, S. 2000. Subject Selection and Viewer Reception of Greek Portraits from Herculaneum and Tivoli. Journal of Roman Archaeology. 13, (2000), 21–40.
[53]
Dunbabin, K.M.D. 1996. Convivial Spaces: Dining and Entertainment in the Roman Villa. Journal of Roman Archaeology. 9, (1996), 66–80. DOI:https://doi.org/10.1017/S1047759400016500.
[54]
Dunbabin, K.M.D. 1999. Mosaics of the Greek and Roman World. Cambridge University Press.
[55]
Edwards, C. 2003. ‘Incorporating the Alien; the Art of Conquest’ in Rome the Cosmopolis. Rome the cosmopolis. Cambridge University Press. 44–70.
[56]
Elsner, J. 1996. Art and Text in Roman Culture. Cambridge University Press.
[57]
Elsner, J. 1995. Art and the Roman Viewer: The Transformation of Art From the Pagan World to Christianity. Cambridge University Press.
[58]
Elsner, J. 1998. Imperial Rome and Christian triumph: the art of the Roman Empire, AD 100-450. Oxford University Press.
[59]
Fedak, J. 1990. Monumental Tombs of the Hellenistic Age: A Study of Selected Tombs From the Pre-Classical to the Early Imperial Era. University of Toronto Press.
[60]
Fejfer, J. 2008. Roman Portraits in Context. Walter de Gruyter.
[61]
Fejfer, J. 2008. Roman Portraits in Context. Walter de Gruyter.
[62]
Fullerton, M.D. 1987. Archaistic Statuary of the Hellenistic Period. Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung. 102, (1987), 259–278.
[63]
Gazda, E.K. and Haeckl, A.E. 1994. Roman Art in the Private Sphere: New Perspectives on the Architecture and Decor of the Domus, Villa and Insula.
[64]
George, M. 2006. Social Identity and the Dignity of Work in Freedmen’s Reliefs. The Art of Citizens, Soldiers and Freedmen in the Roman World. Archaeopress. 19–29.
[65]
Green, R. and Handley, E. 1995. Images of the Greek theatre. British Museum.
[66]
Grossman, J.B. 2003. Looking at Greek and Roman Sculpture in Stone. The J. Paul Getty Museum.
[67]
Guralnick, E. 1978. The Proportions of Kouroi. American Journal of Archaeology. 82, 4 (1978), 461–472. DOI:https://doi.org/10.2307/504635.
[68]
Hallett, C.H. 2005. The Roman Nude: Heroic Portrait Statuary, 200 B.C.-A.D. 300. Oxford University Press.
[69]
Hammond, N.G.L. 1991. ‘The Royal Tombs at Vergina: Evolution and Identities’ in The Annual of the British School at Athens. The Annual of the British School at Athens. 86, (1991), 69–82.
[70]
Hannestad, N. 1988. Roman Art and Imperial Policy. Aarhus University Press.
[71]
Harrison, E.B. 1997. The Glories of Athenians. The Interpretation of Architectural Sculpture in Greece and Rome. National Gallery of Art. 109–125.
[72]
Havelock, C.M. 2007. The Aphrodite of Knidos and her successors: a historical review of the female nude in Greek art. The University of Michigan Press.
[73]
Havelock, C.M. 1965. The Archaic as Survival Versus the Archaistic as a New Style. American Journal of Archaeology. 69, 4 (1965), 331–340. DOI:https://doi.org/10.2307/502182.
[74]
Haynes, S. 2000. Etruscan Civilization: A Cultural History. British Museum.
[75]
Higgins, R.A. 1986. Tanagra and the Figurines. Trefoil Books.
[76]
Holloway, R.R. 1988. ‘Early Greek Architectural Decoration as Functional Art’ in American Journal of Archaeology. American Journal of Archaeology. 92, 2 (1988), 177–183. DOI:https://doi.org/10.2307/505628.
[77]
Holloway, R.R. 1975. Influences and Styles in the Late Archaic and Early Classical Greek Sculpture of Sicily and Magna Graecia. Institut Supérieur d’archéologie et d’histoire de l’art.
[78]
Hölscher, T. 2004. The Language of Images in Roman Art: Art as a Semantic System in the Roman World. Cambridge University Press.
[79]
Hornblower, S. 1982. Mausolus. Clarendon.
[80]
Houser, C. and Finn, D. 1983. Greek Monumental Bronze Sculpture. Thames & Hudson.
[81]
Humphrey, J.H. 1986. Roman Circuses: Arenas for Chariot Racing. University of California Press.
[82]
Humphrey, J.H. 1986. Roman Circuses: Arenas for Chariot Racing. University of California Press.
[83]
Hurwit, J.M. 1985. The Art and Culture of Early Greece, 1100-480 B.C. Cornell University Press.
[84]
Hurwit, J.M. 1999. The Athenian Acropolis: History, Mythology, and Archaeology From the Neolithic Era to the Present. Cambridge University Press.
[85]
Huskinson, J. 1996. Roman Children’s Sarcophagi: Their Decoration and Its Social Significance. Clarendon.
[86]
Huskinson, J. 1996. Roman Children’s Sarcophagi: Their Decoration and Its Social Significance. Clarendon.
[87]
Huskinson, J. 1998. ‘Unfinished Portrait Heads’ on Later Roman Sarcophagi: Some New Perspectives. Papers of the British School at Rome. 66, (1998), 129–158. DOI:https://doi.org/10.1017/S0068246200004256.
[88]
Jeppesen, K. 1989. What Did the Maussolleion Look Like? Architecture and Society in Hecatomnid Caria: Proceedings of the Uppsala Symposium 1987. Acta Universitatis Upsaliensis. 15–22.
[89]
Jeppesen, K. 1989. What Did the Maussolleion Look Like? Architecture and Society in Hecatomnid Caria: Proceedings of the Uppsala Symposium 1987. Acta Universitatis Upsaliensis. 15–22.
[90]
Johansen, K.F. 1951. The Attic Grave-Reliefs of the Classical Period: An Essay in Interpretation. Munksgaard.
[91]
Jones, W.H.S. et al. 1955. Description of Greece.
[92]
Kleiner, D.E.E. 1992. Roman Sculpture. Yale University Press.
[93]
Kleiner, D.E.E. and Matheson, S.B. 2000. I, Claudia II: Women in Roman Art and Society. University of Texas Press.
[94]
Koortbojian, M. 1995. Myth, Meaning, and Memory on Roman Sarcophagi. University of California Press.
[95]
Koortbojian, M. 1995. Myth, Meaning, and Memory on Roman Sarcophagi. University of California Press.
[96]
Kurtz, D.C. 1975. Athenian White Lekythoi: Patterns and Painters. Clarendon Press.
[97]
Kurtz, D.C. and Beazley, J.D. 1983. The Berlin Painter. Clarendon Press.
[98]
Kurtz, D.C. and Boardman, J. 1971. Greek Burial Customs. Thames and Hudson.
[99]
Ling, R. 1998. Ancient Mosaics. British Museum Press.
[100]
Ling, R. 2000. Making Classical Art: Process & Practice. Tempus.
[101]
Ling, R. 1991. Roman Painting. Cambridge University Press.
[102]
Ling, R. 1999. Stuccowork and Painting in Roman Italy. Ashgate/Variorum.
[103]
Marszal, J.R. 2000. Ubiquitous Barbarians. Representations of the Gauls at Pergamon and Elsewhere. From Pergamon to Sperlonga: sculpture and context. University of California Press. 191–234.
[104]
Marvin, M. 2002. The Ludovisi Barbarians: the Grand Manner. The Ancient Art of Emulation: Studies in Artistic Originality and Tradition From the Present to Classical Antiquity. University of Michigan Press. 205–223.
[105]
Mattusch, C.C. 1988. Greek Bronze Statuary: From the Beginnings Through the Fifth Century B.C. Cornell University Press.
[106]
Mattusch, C.C. and Lie, H. 2005. The Villa dei Papiri at Herculaneum: life and afterlife of a sculpture collection. J. Paul Getty Museum.
[107]
Miller, S.G. 1982. Macedonian Tombs: their Architecture and Decoration. Macedonia and Greece in Late Classical and Early Hellenistic Times. National Gallery of Art. 152–171.
[108]
Moon, W.G. 1983. Ancient Greek Art and Iconography. University of Wisconsin Press.
[109]
Moon, W.G. 1995. Polykleitos, the Doryphoros, and Tradition. University of Wisconsin Press.
[110]
Morris, I. 1994. ‘Archaeologies of Greece’ in Classical Greece: Ancient Histories and Modern Archaeologies. Classical Greece: ancient histories and modern archaeologies. Cambridge University Press. 8–50.
[111]
Morris, S.P. 1984. The Black and White Style: Athens and Aigina in the Orientalizing Period. Yale University Press.
[112]
Morrow, K.D. 1985. Greek Footwear and the Dating of Sculpture. University of Wisconsin Press.
[113]
Neils, J. et al. 1992. Goddess and Polis: The Panathenaic Festival in Ancient Athens : [Exhibition]. Princeton University Press.
[114]
Neils, J. 1996. Worshipping Athena: Panathenaia and Parthenon. University of Wisconsin Press.
[115]
Neils, J. 1996. Worshipping Athena: Panathenaia and Parthenon. University of Wisconsin Press.
[116]
Neudecker, R. and Deutsches Archaologisches Institut 1988. Die Skulpturenausstattung römischer Villen in Italien. P. von Zabern.
[117]
Newby, Z. 2006. Athletics in the Ancient World. Bristol Classical Press.
[118]
Newby, Z. 2005. Greek Athletics in the Roman World: Victory and Virtue. Oxford University Press, UK.
[119]
Newby, Z. 2005. Greek Athletics in the Roman World: Victory and Virtue. Oxford University Press.
[120]
Newby, Z. and Leader-Newby, R.E. 2007. Art and Inscriptions in the Ancient World. Cambridge University Press.
[121]
Palagia, O. 2008. Greek Sculpture: Function, Materials, and Techniques in the Archaic and Classical Periods. Cambridge University Press.
[122]
Panzanelli, R. et al. 2008. The Color of Life: Polychromy in Sculpture From Antiquity to the Present. J. Paul Getty Museum.
[123]
Pedley, J.G. 1998. Greek Art and Archaeology. King.
[124]
Pemberton, E.G. 1972. ‘The East and West Friezes of the Temple of Athena Nike’ in American Journal of Archaeology. American Journal of Archaeology. 76, 3 (1972), 303–310. DOI:https://doi.org/10.2307/503923.
[125]
Pickard-Cambridge, A. et al. 1968. The Dramatic Festivals of Athens. Oxford University Press.
[126]
Pollitt, J.J. 1972. Art and Experience in Classical Greece. Cambridge University Press.
[127]
Pollitt, J.J. 1986. Art in the Hellenistic age. Cambridge University Press.
[128]
Pollitt, J.J. 1990. The Art of Ancient Greece: Sources and Documents. Cambridge University Press.
[129]
Pollitt, J.J. 1983. The Art of Rome, C. 753 b.c. - a.d. 337: Sources and Documents. Cambridge University Press.
[130]
Rackham, H. and Pliny 1938. Natural History. Heinemann.
[131]
Rasmussen, T. and Spivey, N.J. 1991. Looking at Greek Vases. Cambridge University Press.
[132]
Richter, G.M.A. 1965. The Portraits of the Greeks. Phaidon Press.
[133]
Richter, G.M.A. 1965. The Portraits of the Greeks: Vol.2: 3A.The Fourth and Third Centuries. 3B.The Third and Second Centuries. Phaidon Press.
[134]
Richter, G.M.A. 1965. The Portraits of the Greeks: Vol.3: 4 Hellenistic Rulers, 5 Greeks of the Roman Period; Bibliographies; Index. Phaidon Press.
[135]
Richter, G.M.A. and Frantz, A. 1968. Korai: Archaic Greek Maidens: A Study of the Development of the Kore Type in Greek Sculpture. Phaidon.
[136]
Richter, G.M.A. and Richter, I.A. 1960. Kouroi: Archaic Greek Youths: a Study of the Development of the Kouros Type in Greek Sculpture. Phaidon.
[137]
Ridgway, B.S. 1981. Fifth Century Styles in Greek Sculpture. Princeton University Press.
[138]
Ridgway, B.S. 1990. Hellenistic sculpture: 1: The styles of ca. 331-200 B.C. / Brunilde Sismondo Ridgway. Bristol Classical.
[139]
Ridgway, B.S. 1993. The Archaic Style in Greek Sculpture. Ares.
[140]
Ridgway, B.S. 1970. The Severe style in Greek sculpture. Princeton University Press.
[141]
Robertson, M. 1981. A Shorter History of Greek Art. Cambridge University Press.
[142]
Robertson, M. 1959. Greek Painting. Skira.
[143]
Robertson, M. 1992. The Art of Vase-Painting in Classical Athens. Cambridge University Press.
[144]
Rockwell, P. 1990. Finish and Unfinish in the Carving of the Sebasteion. Aphrodisias Papers: Recent Work on Architecture and Sculpture : Including Papers Given at the Second International Aphrodisias Colloquium Held at King’s College London ... 1987. Department of Classical Studies, University of Michigan.
[145]
Rolley, C. 1986. Greek Bronzes. Sotheby’s Publications.
[146]
Rose, C.B. 1997. Dynastic Art and Ideology in the Julio-Claudian Period. Cambridge University Press.
[147]
Schweitzer, B. 1971. Greek Geometric Art. Phaidon.
[148]
Simon, E. 1982. Festivals of Attica: an archaeological commentary. University of Wisconsin Press.
[149]
Smith, R.R.R. 1998. ‘Cultural Choice and Political Identity in Honorific Portrait Statues in the Greek East in the Second Century A.D.’ in Journal of Roman Studies. Journal of Roman Studies. 88, (1998), 56–93.
[150]
Smith, R.R.R. 1988. Hellenistic Royal Portraits. Clarendon.
[151]
Smith, R.R.R. 1991. Hellenistic Sculpture: A Handbook. Thames and Hudson.
[152]
Smith, R.R.R. 1999. ‘Late Antique Portraits in a Public Context: Honorific Statuary at Aphrodisias in Caria, A.D. 300 - 600’ in Journal of Roman Studies. Journal of Roman Studies. 89, (1999), 155–189.
[153]
Smith, R.R.R. 1990. Late Roman Philosopher Portraits from Aphrodisias. Journal of Roman Studies. 80, (1990), 127–155. DOI:https://doi.org/10.2307/300284.
[154]
Smith, R.R.R. 1997. ‘The Public Image of Licinius I: Portrait Sculpture and Imperial Ideology in the Early Fourth Century’ in The Journal of Roman Studies. The Journal of Roman Studies. 87, (1997), 170–202. DOI:https://doi.org/10.2307/301374.
[155]
Snodgrass, A. 1982. Narration and Allusion in Archaic Greek Art: A Lecture Delivered at New College Oxford, on 29th May, 1981. Leopard’s Head Press.
[156]
Snodgrass, A.M. 1987. The First Figure Scenes in Greek Art. An Archaeology of Greece: The Present State and Future Scope of a Discipline. University of California Press. 132–169.
[157]
Sparkes, B.A. 1991. Greek Pottery: An Introduction. Manchester University Press.
[158]
Spencer, N. and Theoretical Archaeology Group 1995. Time, Tradition, and Society in Greek Archaeology: Bridging the ‘Great Divide’. Routledge.
[159]
Spivey, N. 1996. Understanding Greek Sculpture: Ancient Meanings, Modern Readings. Thames and Hudson.
[160]
Spivey, N. 1996. Understanding Greek sculpture: ancient meanings, modern readings. Thames and Hudson.
[161]
Stansbury-O’Donnell, M. 1999. Pictorial Narrative in Ancient Greek Art. Cambridge University Press.
[162]
Steiner, D. 2003. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton University Press.
[163]
Stewart, A. 1990. Greek Sculpture: An Exploration. Yale University Press.
[164]
Stewart, A. 1977. Skopas of Paros. Noyes Press.
[165]
Stewart, A. and Society for the Promotion of Hellenic Studies 1979. Attika: Studies in Athenian Sculpture of the Hellenistic Age. Society for the Promotion of Hellenic Studies.
[166]
Stewart, A.F. 1985. ‘History, Myth, and Allegory in the Program of the Temple of Athena Nike, Athens’ in Studies in the History of Art. Studies in the History of Art. 16, (1985), 53–73.
[167]
Stewart, P. 2004. Roman Art. Oxford University Press.
[168]
Stewart, P. 2003. Statues in Roman Society: Representation and Response. Oxford University Press.
[169]
Stewart, P. 2003. Statues in Roman Society: Representation and Response. Oxford University Press.
[170]
Stewart, P. 2003. Statues in Roman Society: Representation and Response. Oxford University Press.
[171]
Stewart, P. 2003. Statues in Roman Society: Representation and Response. Oxford University Press.
[172]
Stewart, P. 2008. The Social History of Roman Art. Cambridge University Press.
[173]
Strong, D. and Brown, D. 1976. Roman Crafts. Duckworth.
[174]
Strong, D. and Ling, R. 1988. Roman Art. Yale University Press.
[175]
Strong, D.E. 1966. Greek and Roman Gold and Silver Plate. Methuen.
[176]
Strong, D.E. 1961. Roman Imperial Sculpture: An Introduction to the Commemorative and Decorative Sculpture of the Roman Empire Down to the Death of Constantine. Tiranti.
[177]
Trendall, A.D. 1991. Farce and Tragedy in South Italian Vase Painting. Looking at Greek vases. Cambridge University Press. 151–182.
[178]
Trendall, A.D. 1991. Masks on Apulian Red-Figured Vases. Studies in Honour of T. B. L. Webster: Vol. 2. Bristol Classical Press. 137–154.
[179]
Trendall, A.D. 1967. Phlyax Vases. Institute of Classical Studies.
[180]
Trendall, A.D. 1989. Red Figure Vases of South Italy and Sicily: A Handbook. Thames and Hudson.
[181]
Trendall, A.D. 1966. South Italian Vase Painting. British Museum.
[182]
Trendall, A.D. and Webster, T.B.L. 1971. Illustrations of Greek drama. Phaidon.
[183]
True, M. 1987. Papers on the Amasis Painter and his World / Colloquium Sponsored by the Getty Center for the History of Art and the Humanities and Symposium. J. Paul Getty Museum.
[184]
Turner, J. 1996. The Dictionary of Art. Grove.
[185]
Vermeule, C.C. 1977. Greek Sculpture and Roman Taste: The Purpose and Setting of Graeco-Roman Art in Italy and the Greek Imperial East. University of Michigan Press.
[186]
Vermeule, C.C. 1968. Roman Imperial Art in Greece and Asia Minor. Harvard University Press.
[187]
Walker, S. 1997. Ancient Faces: Mummy Portraits From Roman Egypt. British Museum.
[188]
Walker, S. 1995. Greek and Roman Portraits. British Museum.
[189]
Walker, S. 1990. The Sarcophagus of Maconiana Severiana. Roman Funerary Monuments in the J. Paul Getty Museum. J. Paul Getty Museum. 83–94.
[190]
Walker, S. and British Museum Trustees 1985. Memorials to the Roman Dead. Published for the Trustees of the British Museum by British Museum Publications.
[191]
Wallace-Hadrill, A. 2008. Rome’s Cultural Revolution. Cambridge University Press.
[192]
Warden, P.G. 1991. The Sculptural Programme of the Villa of the Papyri. Journal of Roman Archaeology. 4, (1991), 257–264. DOI:https://doi.org/10.1017/S1047759400015725.
[193]
Warden, P.G. and Romano, D.G. 1994. ‘The Course of Glory: Greek Art in a Roman Context at the Villa of the Papyri at Herculaneum’ in Art History. Art History. 17, (1994), 228–254.
[194]
Waywell, G.B. and British Museum 1978. The Free-Standing Sculptures of the Mausoleum at Halicarnassus in the British Museum: A Catalogue. British Museum Publications Ltd for the Trustees.
[195]
Weis, H.A. 2000. Odysseus at Sperlonga. From Pergamon to Sperlonga: sculpture and context. University of California Press. 111–165.
[196]
Whitley, J. 1997. ‘Beazley as Theorist’ in Antiquity. Antiquity. 71, (1997), 40–47.
[197]
Whitley, J. 2001. The Archaeology of Ancient Greece. Cambridge University Press.
[198]
Williams, C.K. 1982. Zeus and Other Deities: Notes on Two Archaistic Piers. Hesperia Supplements. 20, (1982), 175–224. DOI:https://doi.org/10.2307/1353959.
[199]
Williams, D. 1983. Sophilos in the British Museum. J. Paul Getty Museum Occasional Papers on Antiquity. 1, (1983), 9–34.
[200]
Williams, D. and British Museum 1985. Greek Vases. Published for the Trustees of the British Museum by British Museum Publications.
[201]
Zanker, P. 1995. The Mask of Socrates: The Image of the Intellectual in Antiquity. University of California Press.
[202]
Zanker, P. 1995. The Mask of Socrates: The Image of the Intellectual in Antiquity. University of California Press.
[203]
Zanker, P. 1990. The Power of Images in the Age of Augustus. University of Michigan Press.