This book begins with a specific problem: the date, style, and iconography of a marble portrait head identified as Pyrrhos, King of Epeiros. Largely by collating with portraits on coins, the head is defined stylistically - dated c.305/304 - c.280 B.C., when the Successors ruled as kings - and confirmed as Pyrrhos. Further study of both coins and sculptures yields a fuller, more complex account of the portraiture of that period, in historic context as well as style, and also of the periods directly before c.305/304 B.C. and after c.280 B.C. In the course of making comparisons, later Hellenistic portraits are discussed as well.

The visual image of the ruler, particularly in sculpture, played an important role in expressing the character of the new, distinctive style of monarchy brought to Greece and the East by Alexander and the Hellenistic kings. Royal portraits survive on coins and in sculpture, and we read about them in inscriptions and literature - evidence that is here combined to give an historical interpretation of the royal image from Alexander to Kleopatra. Part I looks at the historical setting of royal portrait statues, which functioned as an important medium of exchange between the king and the Greek cities. They gave a visual presentation of royal ideology and expressed the basis of the king's power in a personal godlike charisma. Part II collects together and analyses the major surviving portraits, grouped broadly by time and place, and Part III sets them in the wider political context of the period. The dated coin portraits are used to show broad changes in the royal image and howit responded to the major political challenges from Parthia to the East and Rome to the West.

The sheer wealth and dizzying diversity of Indian sculpture are celebrated in this second volume of the catalogue raisonne of the Los Angeles County Museum's collection. Nearly two hundred sculptures produced during eleven centuries are described. Of these, one-quarter of the pieces are part of the Nasli and Alice Heeramaneck Collection, while the remaining three-quarters have been acquired since 1970. This splendid collection, while not representing all the major styles of sculpture that flourished on the Indian subcontinent from 700-1900, is certainly one of the most comprehensive among American and European museums. Included are stone, metal, ivory, and wood sculptures from fourteen states and territories of India and from Pakistan and Afghanistan. Organized by regions--Central and Western, Eastern, and Southern India, and the Northwest--the catalogue contains detailed descriptions and illustrations of the 188 sculptures, many with details or multiple views, for a total of 259 illustrations--251 in duotone and halftone and 8 in color.

When Alexander the Great died in 323 BC without a chosen successor he left behind a huge empire and ushered in a turbulent period, as his generals fought for control of vast territories. The time of the Successors (Diadochi) is usually defined as beginning in 323 BC and ending with the deaths of the last two Successors in 281 BC. This is a major publication devoted to the Successors and contains eighteen papers reflecting current research. Several papers attempt to unravel the source history of the very limited remaining narrative accounts, and add additional materials through cuneiform and Byzantine texts. Specific historical issues addressed include the role of so-called royal flatterers and whether or not Alexander's old guard did continue to serve into their sixties and seventies. Three papers reflect the recent conscious effort by many to break away from the Hellenocentric view of the predominantly Greek sources, by examining the role of the conquered, specifically the prominent roles played by Iranians in the administration and military of Alexander and his Successors, pockets of Iranian resistance which eventually blossomed into Hellenistic kingdoms ruled by sovereigns proclaiming their direct connection to an Iranian past and a continuation of Iranian influence through an examination of the roles played by certain of the Diadochis Iranian wives. The papers in the final section analyze the use of varying forms of propaganda. These include the use of the concept of Freedom of the Greeks as a means of manipulating opinion in the Greek world; how Ptolemy used a snake cult associated with the foundation of Alexandria in Egypt to link his kingship with that of Alexander; and the employment of elephant images to advertise the authority of particular rulers.

Alexandria, Real and Imagined offers a complex portrait of an extraordinary city, from its foundation in the fourth century BC up to the present day: a city notable for its history of ethnic diversity, for the legacies of its past imperial grandeur - Ottoman and Arab, Byzantine, Roman and Greek - and, not least, for the memorable images of 'Alexandria' constructed both by outsiders and by inhabitants of the city. In this volume of new essays, Alexandria and its many images - the real and the imagined - are illuminated from a rich variety of perspectives. These range from art history to epidemiology, from social and cultural analysis to re-readings of Cavafy and Callimachus, from the impressions of foreign visitors to the evidence of police records, from the constructions of Alexandria in Durrell and Forster to those in the twentieth-century Arabic novel.

As archaeologists recover the lost treasures of Alexandria, the modern world is marveling at the latter-day glory of ancient Egypt and the Greeks who ruled it from the ascension of Ptolemy I in 306 B.C. to the death of Cleopatra the Great in 30 B.C. The abundance and magnificence of royal sculptures from this period testify to the power of the Ptolemaic dynasty and its influence on Egyptian artistic traditions that even then were more than two thousand years old. In this book, Paul Edmund Stanwick undertakes the first complete study of Egyptian-style portraits of the Ptolemies. Examining one hundred and fifty sculptures from the vantage points of literary evidence, archaeology, history, religion, and stylistic development, he fully explores how they meld Egyptian and Greek cultural traditions and evoke surrounding social developments and political events. To do this, he develops a "visual vocabulary" for reading royal portraiture and discusses how the portraits helped legitimate the Ptolemies and advance their ideology. Stanwick also sheds new light on the chronology of the sculptures, giving dates to many previously undated ones and showing that others belong outside the Ptolemaic period.