With the help of over 100 illustrations, many of them little known, Martin Henig shows that the art produced in Britannia--particularly in the golden age of Late Antiquity--rivals that of other provinces and deserves comparison with the art of metropolitan Rome. The originality and breadth of Henig's study is shown by its systematic coverage, embracing both the major arts--stone and bronze statuary, wall-painting and mosaics--and such applied arts as jewelery-making, silversmithing, furniture design, figure pottery, figurines and appliques. The author explains how the various workshops were organized, the part played by patronage and the changes that occurred in the fourth century.

With the help of over 100 illustrations, many of them little known, Martin Henig shows that the art produced in Britannia rivals that of other provinces and deserves comparison with the art of metropolitan Rome.

An outline of Romano-British art making clear the close relationship between the political and economic history of the province and its art and arguing that Roman art responded rapidly to diverse influences. Laing also considers the development of Romano-British studies, the patrons and craftsmen themselves, and the diverse examples of art.

This volume builds upon the copious and varied research on villa mosaics in Roman Britain and evaluates it within the context of elite social life in the 4th century AD. It argues that the mosaics were an integral part of the rich lifestyle of the elite in this period and played an important role in defining their status. Yet these symbols of power were apparently no longer valued to the same degree by the end of the 4th century. In a priod of increasing social and economic instability, the mosaics were one element in an elite lifestyle which was ultimately to prove socially diversive. In this wide-ranging study, Scott considers the significance and long-term impact of the artistic choices made by villa owners.