Many new and fruitful avenues of investigation open up when scholars consider forgery as a creative act rather than a crime. We invited authors to contribute work without imposing any restrictions beyond a willingness to consider new approaches to the subject of ancient fakes, forgeries, and questions of authenticity. The result is this volume, in which our aim is to display some of the many possibilities available to scholarship. The exposure of fraud and the pursuit of truth may still be valid scholarly goals, but they implicitly demand that we confront the status of any text as a focal point for matters of belief and conviction. Recent approaches to forgery have begun to ask new questions, some intended purely for the sake of debate: Ought we to consider any author to have some inherent authenticity that precludes the possibility of a forger's successful parody? If every fake text has a real context, what can be learned about the cultural circumstances which give rise to forgeries? If every real text can potentially engender a parallel history of fakes, what can this alternative narrative teach us? What epistemological prejudices can lead us to swear a fake is genuine, or dismiss the real thing as inauthentic? Following Splendide Mendax and Animo Decipiendi?, this is the latest installment of an ongoing inquiry, conducted by scholars in numerous countries, into how the ancient world - its literature and culture, its history and art - appears when viewed through the lens of fakes and forgeries, sincerities and authenticities, genuine signatures and pseudepigrapha. How does scholarship tell the truth if evidence doesn't? But fabula docet: The falsum does not simply make the great, annoying stone before the door of the truth (otherwise this here would really be a "council of antiquarians and paleographers"). The falsum makes a delicate, fine tissue. It allows the verum to shine through, in nuances and reliefs that were less noticeable without its counterpart, really tied at the head. And, treated differentiated, it becomes even itself perlucidum, shines out with "hidden values."

This first complete published catalogue of one of the most important classical sculpture collections in the United States includes 154 works from Italy, Greece, Cyprus, Asia Minor, North Africa, Roman Syria and Palestine, Egypt, and Babylonia, ranging in date from the late seventh century B.C. to the fourth century A.D. Each piece receives a complete description with measurements and report of condition, a list of the previous published sources, and a commentary reflecting the most recent scholarship, along with extensive photographic documentation. Various audiences will appreciate the accessibility of the scholarship presented here—students may engage in further study on some of topics raised by individual pieces or groups of sculptures, and the scholarly community will welcome a work that provides an up-to-date and comprehensive examination of a significant classical sculpture collection in one of the world's great archaeology museums.

Butrint 6 describes the excavations carried out on the Vrina Plain by the Butrint Foundation from 2002–2007. Lying just to the south of the ancient port city of Butrint, these excavations have revealed a 1,300 year long story of a changing community that began in the 1st century AD, one which not only played its part in shaping the city of Butrint but also in how the city interacted and at times reacted to the changing political, economic and cultural situations occurring across the Mediterranean World over this period. Volume II discusses the finds from the Vrina Plain excavations. This volume provides an insight into how the Vrina Plain community lived, worked and ultimately died and includes chapters on the medieval and post-medieval ceramics from the excavations, analysis of the human and faunal remains, environmental evidence, Roman and Medieval coins, a detailed study of the small finds as well as a discussion of the glass including a report on a number of glass cakes, ingots of raw glass associated with glass working that were found during the excavations. The volume also reports on five lead seals dating from the late 9th to the 10th century, an uncommon find but one which when considered with the contemporary coins suggests that for 100 years the Vrina Plain was Butrint.

"A Companion to the Study of Virgil" is not yet another introduction to Virgil's poetry, nor is it the thinking man's version of the bibliographies in ANRW. The editor and three outside contributors offer a guide both to the key problems and to the most intelligent discussions. They do not offer 'solutions' to all the difficulties, but are not frightened to admit that "this" we do not know, that "that" is a mess, and that "there" more work is to be done. The book is aimed at graduate students and university teachers. Many of the issues are difficult and artificial simplifications seem to offer no advantages. Apart from ample discussion of the poems and the main issues they raise, the book offers chapters on the life of Virgil (Horsfall), his style (Horsfall), his influence on later Latin epic (W.R. Barnes), on Latin life and culture (Horsfall), and on his MS tradition (Geymonat).

Now available in paperback, this rigorous and challenging book questions the Hellenistic dating of many famous monuments, based on careful examination of evidence. "Fluently written, clearly organized, and thoroughly and impeccably documented. Anyone who has a serious interest in Hellenistic art will want to read it and refer to it."--Jerome J. Pollitt, Yale University