Chersonesan Studies 1 presents the painted grave stelai of the Early Hellenistic necropolis of Chersonesos Taurike, a Greek city on the northern shore of the Black Sea. This unique collection of over one hundred objects is of major interest to students of ancient art and Greek culture. Their polychrome decoration has been extraordinarily well preserved, a rarity in the ancient world. They compose a remarkable, even unique, body of evidence of Greek funerary memorial sculpture: their shapes are gender-specific, their depicted objects are gender- and age-specific, and they can be ascribed to a handful of specific workshops. Their surprising uniformity requires an explanation, since comparable assemblages from other parts of the Greek world show substantial diversity in all these aspects.

This book provides the first complete catalog and description of the stelai, together with full-color illustrations of all the significant stelai and many details. Through his painstaking recovery and reassembling of fragments, as well as the use of advanced photographic techniques, Richard Posamentir has been able to add a whole new dimension to the study of these artifacts. The volume covers the history of the stelai, analysis of the workshops, and reconstruction of the necropolis that the stelai originally graced. A comparison chapter discusses how the stelai fit into the context of Greek funerary art and provides insights into the culture and society of a city on the Black Sea.

This is a study of the twelve small gold lamellae from Crete that were tokens for entrance into a golden afterlife: the deceased who were buried or cremated with them believed that they had 'earned Paradise.' The lamellae are placed within the context of a small corpus of similar texts, and published with extensive commentary on their topography, lettering and engraving, dialect and orthography, meter, chronology, and usage. The texts reveal a hieros logos whose poetics and rituals are not much different from Homeric rhapsodizing and prophetic discourses. Cretan contexts, both literary and archaeological, are also brought to bear on these incised objects and on the burial custom involved. Finally, this work adduces parallels to the texts on the lamellae from the Byzantine period and modern Greece to illuminate the everlasting and persistent human quest for 'earning Paradise.'

Some of the loveliest works of Archaic art were the Athenian korai—sculptures of beautiful young women presenting offerings to the goddess Athena that stood on the Acropolis. Sculpted in the sixth and early fifth centuries B.C., they served as votives until Persians sacked the citadel in 480/79 B.C. Subsequently, they were buried as a group and forgotten for nearly twenty-four centuries, until archaeologists excavated them in the 1880s. Today, they are among the treasures of the Acropolis Museum.

Mary Stieber takes a fresh look at the Attic korai in this book. Challenging the longstanding view that the sculptures are generic female images, she persuasively argues that they are instead highly individualized, mimetically realistic representations of Archaic young women, perhaps even portraits of real people. Marshalling a wide array of visual and literary evidence to support her claims, she shows that while the korai lack the naturalism that characterizes later Classical art, they display a wealth and realism of detail that makes it impossible to view them as generic, idealized images. This iconoclastic interpretation of the Attic korai adds a new dimension to our understanding of Archaic art and to the distinction between realism and naturalism in the art of all periods.

Ancient Sardis, the capital of Lydia, was of outstanding importance: in the Lydian period it held the residence of the kings and subsequently, under Persian rule, the satraps. Throughout antiquity it remained an administrative center. Travelers of modern times and archaeological excavations have revealed, from the city site and its surroundings, inscriptions written mostly in Greek, some in Latin. Their texts deal with all kinds of subjects: decrees, public honors, civil and sacred laws, letters, epitaphs, and more.

In the corpus “Sardis VII 1” (1932) W. H. Buckler and D. M. Robinson published all inscriptions (228 items) known up to 1922, after which year excavation at Sardis came to a halt because of the Greek-Turkish war. Since excavation resumed in 1958, a portion of the Greek and Latin inscriptions has been published in various, widely scattered places; another portion, containing important texts discovered during the last ten years, was until now unpublished. The aim of this monograph is to present in a comprehensive corpus the entire epigraphic harvest (485 items) made in Sardis and its territory since 1958. Each inscription is accompanied by a description of the monument, bibliography, translation, and commentary; indices, concordances, photographs, and maps complement the collection.